• International Journal of Contents
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• v.8 no.1
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• pp.95-99
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• 2012

Interior design companies in Seoul, Korea, senior level designers-designers shared leadership model has not been implemented by the design management. The whole interior design companies are worked each by a leadership team consisting of senior level designers, contractors and designers, being accountable for company, workers, and budgets. The results for workers' opinion in leadership positions were evaluated. All 154 leading workers of all professional teams were anonymously interviewed with a questionnaire containing 45 items regarding their satisfaction with this new shared leadership model. The response rate was 96.2%. After all, the leading workers were satisfied with the shared leadership model both in their own designing practice and in general. Non-design workers were comprehensively more in favor of quite a few aspects of shared leadership than senior level designers, but even the latter reported to be generally satisfied. However, both professional teams estimated leading positions to be only modestly attractive. The consequences yield some evidence that the transform from traditional leadership models to the senior level designers -designers shared leadership model may have advantages in the management of interior design companies. Furthermore, there is a need for greater clarity about precisely what we mean by shared leadership and also a deeper exploration of potential challenges arising from shared leadership models if we are to try to come to terms with their practice.

• Fashion & Textile Research Journal
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• v.4 no.2
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• pp.188-191
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• 2002

The hair designers are fashion leaders who affect hair color of people. Therefore, the purpose of this study is to give some tips to satisfy customers through surveying hair designers most like color and the criteria of products choice. To have practical result, I use survey method. I took 120 hair designers who work for Park Jun beauty salon for the survey data. Among these data, I used 103 for the final data of analysis. The results are following, male hair designers like natural brown and blue coral color for hair coating. In addition, they like black color for coloring. Female hair designers like much more various color, they like orange color for coating and natural brown for coloring. Hair designers much more satisfied for international brand goods in all criteria except price. All of hair designers have favorite goods for the quality and brand image. Therefore domestic brands need much more effort to improve quality and its brand image.

• International Journal of Contents
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• v.7 no.4
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• pp.84-89
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• 2011

General recognition on the role of a designer has differently changed according to the age and region respectively. This research has clarified general recognition on a designer's role among a designer, experts that designers mainly perform co-work and an ordinary people in a period when the design identity is more confused than any other time. The results of this research are as follows. First, the 13 definitions on a role of a designer in a company were identified through field interview survey by presidents and practical responsible persons in design-specialized companies. Second, it was proved whether there is a difference in recognition on a role of a designer between designers and non-designers. Third, this research divided a group of non-designers into two groups such as a design job-related group mainly performing co-work with designer, and an ordinary people's group that doesn't major design. After that, this research found out the most sympathizing definition on a role of a designer at a company in three groups divided into a designer's group, a design job-related group and an ordinary people's group. The awareness on the role of designer was more objectively regulated three-dimensionally in all aspects of a designers group and a non-designers group. In addition, the findings of recognition difference of each group on a designer's role will help comprehensive understanding on each experts group and an ordinary people. The findings of the research will help in performing co-work of designers and non-designers in design decisionmaking based on understanding of this recognition.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.838-851
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• 2015

This study explores the level of designer brands' market oriented attitude through a conceptual framework of market orientation. Designer brands have rapidly increased in the Korean fashion market with a competitive environment that pushes designers to improve market oriented attitudes and strategy. Designers working for 20 brands that the government designated as 'promising creative designer brands' were invited for in-depth interviews, 19 designers from 18 brands participated in this study. The generation of market intelligence that composes market orientation meant that the designers were confirmed to collecting different types of information according to information sources. They showed interest in collecting information on the exploration of design trends from overseas designers as well as operational and managerial information from domestic designers. Fashion-related stakeholders mainly collected feedback on design concepts from the press and public institutions. They collected customer feedback from buyers; however, appropriate feedback was inadequate. Designers generally appeared to place less value on the collection of customer responses and opinions; however, two groups of designers showed customer-oriented attitudes according to accumulated experience. The market-oriented attitude of top designers had an important role in designer brands; consequently, top designers should be properly trained to improve market-oriented attitudes to increase market performance.

• Fashion & Textile Research Journal
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• v.3 no.5
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• pp.444-454
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• 2001

The purpose of this paper was to identify and compare the underlying design theory of contemporary European and Japanese fashion designers by using the qualitative research method of grounded theory developed by Glaser and Strauss (1967) and Glaser (1978). In this research, four fashion sites-Paris, Milan, London and Tokyo-were selected. The researcher stayed in each site for a period of two to three weeks for the purpose of data collection. A total of 60 fashion designers, educators, students and journalists were interviewed. 53 open-ended design questionnaires were returned by fashion designers and students. 19 on-site observations of fashion designers and educators were done. Grounded theories of fashion designers were synthesized from in-depth interviews, participant observations and questionnaire surveys of fashion designers, students and educators. The results of theory-building research suggested that there were significant differences between the grounded design theories of European and Japanese fashion designers due to their various cultural contexts.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.4
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• pp.743-759
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• 2023

Collaboration between AI and fashion designers is becoming essential. Thus, this study explored (1) 321 consumer responses to fashion designers, comparing their capabilities and product quality across different designer types, (2) the relationship between designer capabilities and perceived product quality, and (3) the moderating role of AI knowledge in the effect of capabilities on perceived product quality. Data were analyzed using EFA, ANOVA, regression, and moderation analysis. The results indicated that subjects perceived human designers as having higher capabilities and perceived product quality than AI designers. All subjects' perceived creativity and empathy significantly impacted the perceived functionality, aesthetics, and symbolism-sociality of clothing. Additionally, the perceived creativity of AI and human+AI designers, and the perceived empathy of human and human+AI designers, significantly influenced the perceived functionality and symbolism-sociality, but the perceived creativity of human designers and empathy of AI designers did not directly impact perceived functionality and symbolism-sociality. Moreover, perceptions of the designers' capabilities significantly aesthetics in all subjects. Furthermore, low levels of perceived consumer AI knowledge enhanced the positive impact of perceived human+AI designers' creativity and empathy on perceived functionality and aesthetics. The study suggests that fashion companies should refrain from revealing AI designers at this time.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.5
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• pp.852-865
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• 2021

The purpose of this study is to investigate the characteristics of menswear designers and the process of becoming a menswear designer expert through qualitative evaluation and statistical analysis. This study used ten menswear designers with more than fifteen years of experience. After going through the University P IRB approval process, a semi-structured questionnaire was prepared and individual in-depth face-to-face or video interviews were conducted from March 1, 2020 to March 31, 2021. From this qualitative study examining the characteristics of menswear designer job experience, four key themes were found: the competence required for the professionalization process of menswear designers; the creative sensibility of menswear designers; the uniqueness of menswear designers' work; basic education required for menswear designers. In order to find additional meaningful implications using the visual analysis technique, we examined the primary vocabulary using the word cloud technique and examined the relationship between the vocabulary using the network graph. In the follow-up study, we expect to develop a material-oriented education program for new menswear designers and to resolve the limitations of the study, targeting a small number of experienced menswear designers.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.292-305
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• 2013

This study reported present state of clothing technical designers' work duties and working conditions, so as to suggest effective ways to develop professional training methods for them. Technical designers working for vendors and agents were surveyed as they represent the majority of technical designers in Korean clothing industries. Survey participants were 62 technical designers working for 6 clothing vendors and 2 clothing agents, and the survey closely inspected their work qualifications, duties and responsibilities, working conditions and training conditions. Survey was conducted from June $27^{th}$ to July $17^{th}$, 2012. The questionnaire examined frequency analysis and multiple response analysis using SPSS 19.0 Windows after investigating documents and work fields through personal experiences and interviews from technical designers for data collection and analysis. A chi-square test analyzed the preferred type of fitting for technical designers of vendors and agents. The results showed that 32.3% of those surveyed have more than 7 years of work experience and the highest level of education is predominantly a bachelor's degree (57 people, 91.9%). Among the work responsibilities, respondents did sample measuring more than four times a day. Also, the results showed that technical designers needed to qualify: first 'Fitting Technic', second 'Pattern Correction Capability', and third 'English Skills to Communicate with Buyers'; subsequently, education on several technics (such as measuring, grading, and fitting) were required for the job. Current technical designers answered that they need more various work-related education. However, the analyzed results showed that pre work-related training was insufficient. The data shows that technical designers require re-education in 'Pattern Correction Method' (61.3%) and 'Sewing Education' (64.5%).

• Journal of Fashion Business
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• v.3 no.4
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• pp.67-81
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• 1999

Fashion designers and fashion merchandisers are the experts who play critical roles in the apparel industry. But their job turnover rate is quite high compared with other industries and/or other positions. The purpose of the study was to investigate the level and the major causes of job stress, and the causes of the high rate of job turnover of fashion merchandisers and fashion designers. The study also compared differences between the levels of job stress, job results and job turnover rate which perceived by fashion designers and fashion merchandisers. The results of the study were as follows: 1. The designers felt more role conflict than merchandisers during job and feel more job stress about career development and their income. 2. The designers feel their job achievement more positively than merchandisers. 3. The designers have their turnover intentions more frequently than merchandisers. This study, on the basis of the above conclusion, is expected to contribute to make fashion merchandisers and fashion designers recognize the importance of managing their job stress and their supervisor obtain the directions for the efficient management of personnel by offering them better working environment.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.923-949
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• 2020

Improving work efficiency and satisfying customers through personalized services is becoming more important in an increasingly competitive hair industry. Wearables may help to improve hair designers' work efficiency and customer satisfaction by analyzing customer and hair designers' conditions and provide hair stylingrelated data. However, there is limited research on developing wearables for hair designers (WHDs), and many existing wearables were developed without understanding user needs and perceptions. This research investigated preferences, perceptions, and intentions on WHDs based on hair designers in the U.S., which is the largest hair market. Specific design options that hair designers preferred and possible options to meet requirements that hair designers expect for wearables were identified and suggested in WHD design guidelines. Second, most people preferred a WHD design of a black-colored bracelet/watch that can be a necklace designed with preferred functions; in addition, 3D virtual images and 3D printed models were prototyped. Third, developed designs were evaluated. More than 70% of users were satisfied and considered it as useful and easy to use, with an intention to purchase. The results are expected to provide insights to designers when developing WHDs.