• Journal of Distribution Science
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• v.13 no.3
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• pp.21-29
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• 2015

Purpose - This paper addresses the role of designers in design-oriented firms and how they should work together with other organization members. The aim of this paper is to investigate how designers generate ideas and cooperate with others as well as how their participation in decision-making reflects on corporate design strategies. Research design, data, and methodology - An in-depth exploratory study examined how designers actually perform their roles in enterprises; in addition, information, knowledge, communication among designers, and sources of creativity were examined. Hanssem and Ikea grew as design-intensive businesses in a declining industry. Data were obtained from interviews with the design staff of each company as well as secondary sources. Results - Designers were found to use their designs to communicate with customers as well as with communities outside of the enterprise; they also participated in overall decision-making in relation to important design strategies. Conclusions - This study emphasized the increasing importance of the innovative and creative role of designers; thus, it might substantially help companies to develop their own design capabilities and deploy design strategies.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.18-35
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• 2012

The purpose of this study is to offer a holistic description of the role demanded of costume designers to provide qualitative improvement of costume designs for small- and medium-sized musicals. The study accomplishes this by analyzing the relationship between the play and costume design in musicals and also by examining the process and environments in which costumes of small-sized theater companies' original musicals are produced. The methods of study are empirical research of literature related to dress, stage art, and culture & arts from both domestic and foreign publications; research of visual materials related to plays; and production and analysis of theatrical performances in which the researcher has participated as a costume designer. The results of the study are as follows. First, professionalism of the play and visual perfection of the work may be enhanced by costume designers actively participating in meetings with staff from each field of the play. Second, by taking advantage of the unique aspects of the work environment of small-sized theater companies' small- and medium-sized original musicals, such as harsh situations of regular and periodical meetings with all staff member, the designer may consider the director's intentions and concepts of the play, but should display more creative and autonomous design abilities. Third, because the costume designers of small- and medium-sized original musical plays are given a small budget and short production periods, the ability to systematically manage budget and production periods and the ability to flexibly handle unexpected incidents during the play is essential.

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.04a
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• pp.40-41
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• 1998

• Journal of Digital Convergence
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• v.17 no.4
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• pp.291-298
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• 2019

This study discusses the core contents and implications of the design support policy of government in the creation of the designer-makers' business ecosystem through the analysis of 'Young man's Creative Work & Startup Support Project'. This case, which aims to cultivate a design brand based on maker technology and to create jobs for young people, suggests the role of government as a creative culture creator so that designer-makers are able to create creative activities in a more free and creative atmosphere. Furthermore, this study emphasizes the importance of efficient integration and reorganization of similar maker support policies implemented by each government department, the necessity of a roadmap for realizing this, and the support for quality improvement. As a result, the design support policy of government for the designer-makers' business activation should evolve into the qualitative development of intellectual property based on a mature shared culture and the discovery of a new production paradigm model of the manufacturing industry based on the open manufacturers beyond the economic and numerical goals of creating new jobs.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.1-12
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• 2008

This study begins by establishing the theory that paintings serve as a visual documentation of a particular era and record the ideal fashions and customs about dress behavior through the costumes represented in them and examines the close relationship between fashion and art, focusing on the influence of art on fashion, as well as that of fashion on art, for both painters and fashion designers. To attain the goal of the study, the selected objects of study are written references and dresses represented in paintings produced in the 19th century. Painters who were the subject of documentation created or popularized new fashion styles before the concept of 'fashion designer' was introduced in history. In order to capture and represent the ideal beauty of certain period, painters understood the important role of fashion. Their work not only included the designing of costumes or accessories for the sitters, but also the spreading of new fashion styles by showing the sitters wearing them. Study of the mutual relationship between fashion and art grew more vigorous among many intellectuals in a variety of fields beginning in the 19th century. The standing of fashion was elevated and the concept of the 'fashion designer' was introduced and the interest in the themes of a specific style or the background of a trend increased during this time period. Many contemporary fashion designers created dresses inspired by the costumes represented in paintings. The result of this study which focuses on the relationships between fashion, artist, fashion designer and art is that connection between fashion and art is closely and firmly formed. For several hundred years, painters were the creators as well as promulgators of fashion and fashion designers, from the 19th century until today, have obtained their creative inspiration from art.

• International Journal of Contents
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• v.15 no.2
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• pp.53-58
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• 2019

The aim of this paper is to discuss how designers lead and direct 'technology-driven society' using their creative communication skill. To this end, it is required for communication designers to take conscious steps to recognize the future direction of their profession. Despite the advancement in technology, there is a human being at the center of all design activities. From a certain point of view, contemporary communication design takes an open-ended exploration of the subject matter, rather than a finished output. The notion of creative leadership may potentially expand more in terms of improving the methodology of today's visual culture. The paper will examine creative leadership that could be proposed by the challenge of discourse upon the upcoming industrial revolution. Today, communication designers are confronted by new leadership opportunities and challenges. Some leading designers seem to focus on brand new media technologies to prepare the 4th industrial revolutions. However, communication design cannot be discussed in the medium but can be understood as a process. Top-down and bottom-up process is always a concerned about the relationship since the focus of leadership has changed. In the top-down process, the leadership has existed between 'designer and client' because designers have played their role as a problem solver. On the other hand, there is a different model of leadership between 'design and technology' based on bottom-up process, which stem from the design authorship. In this regard, the new definition of creative leadership in the $4^{th}$ industrial revolution proposes a designer as a problem-finder based on the relationship between the 'designer and the public'.

• Journal of Fashion Business
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• v.9 no.6
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• pp.141-159
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• 2005

Targeting a film that is the medium of having powerful influence upon the masses, the present study examined about a role and characteristics in the movie costume, and a role of costume designers, which are shown in process of being changed the film costume. There are many designers who were in charge of the film costume, but the present study examined centering on designers who participated aiming to create the image of a character from the stage of manufacturing a movie. It presented and analyzed visual materials by dividing four genres such as a historical drama movie, a horror movie, a fantasy movie, and a modern-play movie, and by selecting a typical work. A Historical drama movie needs to be investigated costume by the historical background in a movie, but inside it was shown clothes that were elaborately reproduced and newly created. A horror movie plays a role of medium that reflects the human society and the internal mentality of a human being along with the attribute of entertainment. As a genre that requires much costume, make-up and special effect aiming at dramatic effect, a role of film costume possesses great weight. As a fantasy movie is a field based on 'fiction' of a writer who creates a work, it is a field that requires creativity of a costume designer most. As a modern-play movie is what reproduces reality, it best reflects the phases of that time, and is the field that is influenced by costume or fashion trend. Costume needs to be designed in a bid to allow spectators to be inspired the wholly united and harmonious mood with leading a story of a movie, and the individual image.

• Journal of Korean Ophthalmic Optics Society
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• v.9 no.1
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• pp.189-195
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• 2004

Eyewear must not be judged only by the skill of the designer who created it. For production of successful eyewear, we must always take into account the point of view of the wearer. Because eyewear is above all a means to correct of the visual acuity, it is a medical instrument. Therefore in any case, it should not submit to the dictatorship of fashion designer. The eyewear designer's role may therefore be summarized in following way: to have a subtle sensitivity and inspiration, and originality, know-how to develop a symbiosis between functionality and technical know-how, harmonious production of the design and concept of the human engineering. At present, the way of designing has undergone a big change to enabling us to supply the customer with technical design and rapid prototyping of eyewear with assistance to computer processing such as computer graphic and cad/cam.

• Journal of The Korea Institute of Healthcare Architecture
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• v.24 no.4
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• pp.7-15
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• 2018

Purpose: The life span of a hospital building is short. This is because the building will have to be built up due to the fact that it can not cope with the new medical environment, it can not be replaced due to low floor height, lack of land. The purpose of the hospital building master plan is to find a way to fulfill its role in the long term. Methods: Comparison the proposals submitted by the master plan and the proposals submitted by the hospitals, the case of three hospitals that have established a master plan for the past three years. In addition, interviews with the designers who participated in the design competition and the administrator of hospital about the variables that occurred during the business process. Results: The result of this study can be summarized into four points. The first one is that master plan is changed by administrator of hospital so that Thy need to understand about the role of master plan. And next is to protect reduction of the project cost. Third, continuous participation of master plan researchers in following projects is good to communicate with administrator and designer. The last one is empathy of master plan by designer and users. Implications: It is necessary to reduce changing of master plan in design process for sustainable managing of hospital.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.353-361
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• 2021

As demands for health and wellbeing in the ageing society have grown, complex problems involving diverse stakeholders arise in the healthcare environment. The objective of this study is to identify roles and abilities of designers in a healthcare setting where professionals from different disciplines collaborate to achieve a common goal. Case studies on healthcare design projects adapting interdisciplinary approach were explored to find which methods and processes were implemented effectively. Results are based on three research questions that lead to analyzing multifaceted roles of designers regarding process facilitation, manage relations, visualization, and imagination.