• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.1-14
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• 2009

This study was aimed to make clear fashion is an expression art displaying not only functional or commercial aspects, but creative functions as an artistic work by analyzing Art Mode and its values, and to help develop more creative design by combining fashion with art. In terms of method, relevant documents, precedent studies, and the works announced in domestic and foreign fashion collections, such as Vogue, Fashion News, Gap, and Collections from 2000 to 2009. According to the findings, artistic works were used by the Art Mode in modern fashion. The respect of artists was expressed using historic famous painting works or current works in various fields, designers' individuality was shown by directly applying work messages to clothes, and fashion design was converted into a tool to communicate the messages like artistic works. Second, the various styles, using the formative character of modern art styles from animalism to modern abstractism, showed the creativity of design, transformed art into the art that enables to see the image of modern art, and presented the possibility of developing into a newer creative design through the application of numerous art styles and the transformation of ideas. Third, the collaboration with artists was used. Fashion designers or fashion brands tried to change the images of works or brands in partnership with artists or to increase differentiated images. The future direction of fashion is a pursuit of new form and content to express fashion, not simply to use artistic works. It is expected that such pursuit will lead to more creative and artistic fashion design.

• Journal of Distribution Science
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• v.11 no.11
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• pp.19-32
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• 2013

Purpose - This study examines the effects of art marketing management of the marketing mix in fashion, focusing on the cases of the leading global fashion brands in art marketing management. Research Design, Data, and Methodology - This study was implemented using the content analysis method. Criteria, including product differentiation, promotion strategies, store strategies, and social contributions, were based on previous research, brand promotional references, and critical reviews in newspapers or professional magazines for various cases of art marketing management by fashion brands. Results - To achieve product differentiation, art marketing management has borrowed images from artworks, and employed parodies and collaboration with artists; this has facilitated the pleasure derived from utilizing the artistic value of products. Promotion strategies were integrated with art performances, advertisements, and runway shows. Store strategies developed emotional feelings and a longing for brands among consumers. Reputational marketing of the social contributions made by corporations elevated the corporate brand image perceived by consumers. Conclusions - This study's findings revealed that consumers can derive emotional satisfaction through art marketing that seeks to profit effectively by stimulating consumers' emotions. From an economic perspective, a convergence of art and marketing plays an important role in profit-making and satisfying consumers' emotions.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.140-153
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• 2009

In the 21st century called an age of culture and art beyond the information and technology, many companies are developing various art marketings. Cases of the art marketing especially utilizing Korean features among art marketings are being increased recently. It is creating new values as a characteristic based on the cultures value of Korea. This thesis examined cooperative product development focusing on collaborative trends between designers, artists and companies through research on product and art marketing using Korean features. Additionally, by studying features of culture promotional event including exhibition and contest sponsorship, advertisement and packaging and the meaning of futures art marketing were discussed. Though, to date, academic researches have not been thoroughgoing enough in this field, it is considered that cultural product commercializing cultural particularity can strengthen the national image with acknowledgement of the global value as the art marketing using Korean features can contribute to improve recognition and the national image. Based upon this study, the value of Korean features on which custom culture of Korea dwells will be able to give a help to the designer and artist for progressing collaboration with companies as well as the companies for introducing new cultural characteristic to marketing, in the future-proof point of view. Additionally, it will be able to help the government planning the policy for intensifying the national image as a reference.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.196-207
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• 2014

This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.

• Korea Science and Art Forum
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• v.26
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• pp.289-299
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• 2016

The range of art has been gradually expanded with the passage of time. Science and technology have also contributed to the arts in the name of media art, and artists and technicians have become collaborative. In this paper, we investigate the meaning of collaboration in art and analyze the case focusing on Projection Mapping which is a field of Media Art. In particular, this study propose the concept and production process of Sequential Collaborative Projection Mapping works, and see the work of making and exhibition as one experiment. Based on this, sequential collaborative procedures are defined in the case of work production, and the underlying technologies and procedures for collaboration are presented. The presented techniques and procedures can be applied to projection mapping exhibitions and festivals as a platform. In this process, we have reviewed the collaborative relationship between artists and technicians, and the issues with regard to giving and receiving the credit of works.

• Journal of Korea Multimedia Society
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• v.23 no.8
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• pp.1108-1117
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• 2020

Based on Maslow's hierarchy of needs theory, this research only employs whether to meet consumer needs as a measure, and focuses on the Collaboration Series between Uniqlo and KAWS to discuss the influence of the collaboration between fashion brands and artists on consumer needs. What's more, this paper also proposes whether the collaboration with artists as brands can meet the higher needs of consumers and influence new consumer groups. Finally, it is concluded that the collaboration between fashion brands and artists plays an active role in meeting the higher needs of consumers and can expand new consumer groups, which will provide reference and theoretical basis for enterprises to conduct collaboration with art, incorporate the needs of consumers into the scope of planning, and consider the collaboration with artists more comprehensively.

• Journal of Fashion Business
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• v.10 no.6
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• pp.110-121
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• 2006

The purpose of this study is to analyze the various types and areas of recent collaborations in fashion industry and to find the utility value of collaboration. Seventy seven cases of fashion collaboration marketing strategies were selected from officially announced literature survey and enterprises information around the world. Among the seventy seven cases of fashion collaboration surveyed in this study, collaboration with other fields made up 59.7 percent, collaboration between the same fashion categories made up 40.3 percent. Among the areas of other fields, collaboration with IT(Information Technology) or Motor enterprises were included and made up 36.4 percent. Collaborations with Culture and art world that fashion brands collaborate with world-renowned industrial designer or artist and star entertainers were also included and made up 23.3 percent. Among the areas of the same categories, collaboration of fashion designer and sports or casual brand made up 22.1 percent. Collaborations of home shopping mall and fashion designer made up 18.2 percent. Collaboration cases surveyed in this study were classified according to three types; co-product development, co-branding, and co-marketing. Collaboration for co-product development made up 72.7 percent. Collaboration for co-branding made up 27.3 percent. Collaboration for co-marketing made up 37.7 percent. These collaboration marketing strategies are very efficient to upgrade brand image and cut the marketing cost by creating new target, product, brand, and promotion through successful partnerships. Therefore, much more various types and areas of fashion collaborations should be developed to create something new for future consumers.

• Korean Journal of Human Ecology
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• v.22 no.2
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• pp.315-328
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• 2013

The purpose of this study was to analyze on the aesthetic collaboration appeared on the modernism arts and Haute Couture designers in the 20th century as the necessity of analyzing on the pure meaning of collaboration which is a talking point associated with culture of the 21st century. The study was performed by means of documentary method. The results are as follows; First, it was analyzed that the collaboration in the pure meaning of the first half of the 20th century had partial common points which was stated as Art Inspiration in the arts collaboration out of the 21st century collaboration. Secondly, the Haute Couture designers(Paul Poiret, Gabriell Chanel, Madeleine Vionnet and Elsa Schiaparelli) have common point that they involved into the artworking through active exchange with many artists from diversified fields in the 20th century. Especially, the characteristics of the collaboration in the forms, materials and color of their works were appeared visually. When the collaboration in the first half of 20th century was regarded entirely as mental matter of manifestation of pure aesthetics, in can be said that the big difference was mostly the maximization of mutual interest between collaborator and collaboratee in the 21st century collaboration.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.79-85
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• 2019

'Experiments in Art and Technology' Group was established in the mid-20th century, and then developed the larger interdisciplinary experiments into the range of art world and its outside field. The motive power of group's activities was the collaboration between artists and engineers traversing the boundary between old different disciplinary conventions. E.A.T was officially launched in 1967 by the engineers Billy $Kl{\ddot{u}}ver$ and Fred Waldhauer and the artists Robert Raushenberg and Robert Whitman. They performed various possibility of material, technology, and engineering available to contemporary art. By reflecting the function of art and technology in society, eventually they developed the methodology of new aesthetics which had organic relationship with contemporary world. In this sense, this research have its academic significance. This paper firstly examined the socio-cultural context of emerging the E.A.T. group as a representative model for convergent practice, and verified the fact that the collaboration between artists and engineers had produced the expansion of artistic expression as well as new relationship among art, engineering, and society by considering E.A.T's various projects. Therefore, I will refer the E.A.T. group as an exemplary model for concrete method of collaboration that contemporary discourses about convergence need.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.61-72
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• 2015

The capitalistic resistance movement attempted in most modern art areas was carried out through a complete convergence of the art and skill, which was the new formation of the symbolic boundary. Although this resistance movement was aimed at restoring artisan art through the revival of tbe work of handicraftsmen, it consequently caused the stratification of the art and became a de-artisan art excluding the autonomous labor. Hereupon, this study would focus on Bauhaus which attempted to dismantle the symbolic boundary through the convergence of the technology and art which actively used the condition the great industry brought only as an effort for the restoration of artisan labor, and would examine the actor-network of Bauhaus. Therefore, this study would examine the Bauhaus' artistic trend, the 16C Renaissance art promotion movement, and the 19C art crafts movement in the network-oriented relation, and would analyze the Bauhaus' ideological source which expressed design democracy through the bridging role of and analyze the artisan art and the mechanism that had the new technology fused. Furthermore, the convergence possibility of the 'collaboration spirit' being embodied as a philosophy of the democracy in the design continues with the tremendous influence of the new technology.