• 국제학술발표논문집
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• The 5th International Conference on Construction Engineering and Project Management
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• pp.36-41
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• 2013

With the increased interest in green buildings, the building industry has been experiencing a fast-growing demand for LEED (Leadership in Energy and Environmental Design) certification for the last decade. Still, it is not unusual to see various barriers and issues during its implementation, and experience tells that they can result in harming the overall project performance with reworks, lower productivity, schedule delays, and cost overruns. In order to better understand the industry's observation on issues and their consequences during LEED implementation, we distributed an online survey, and a total of 53 responses were received. The survey results indicate that (1) both designers and non-designers (e.g., contractors) select 'added costs to design and construction' as the biggest barrier; (2) both designers and non-designers select 'decision made too late in the design process' as the most frequently observed issue; and (3) non-designers indicate higher perceived severity in every consequence criteria than designers. The statistical analyses reveal that cost overruns are the most severe impact observed and have a statistically significant relationship with responses in regard to the barrier to LEED implementation.

• 한국의류산업학회지
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• 제18권3호
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• pp.272-281
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• 2016

From the year 2000 on, Seoul has aimed to be a fashion city, and thus has been supporting young designers through Seoul Fashion Creative Studio, Generation Next, Le Dome, Concept Korea, etc. London is famous for nurturing young designers through the joint help of government, schools and industries: Alexander McQueen, Christopher Kane and Peter Pilotto are successful cases. Therefore, this research aims to suggest a direction for policies aimed at helping young designers in the international market, on the basis of London's nurturing programs and ideas from a literature review and case studies. The results are below. Firstly, a step-by-step supporting program is recommended. Secondly, long-lasting, sustainable programs are considered essential to support designers after the end of their contracts. Thirdly, practical assistance is preferred to monetary funding in order to lighten the designers' lot and in the interests of transparency. The mentoring service should be strengthened for the designers to eventually become independent. The support should be tailor-made according to items. Fourthly, the supporting programs should be promoted. Fifthly, government and industries should collaborate. Sixthly, 'de minimis' against overlapped support should be legislated. For these, the change of supporting method can be helpful; an independent administrative organisation plans and collects funds from governments and companies. Through these programs and any subsequent studies, Seoul could become a fashion city where young designers play active roles at a global level.

• 복식
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• 제57권4호
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• 복식
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• 제39권
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• pp.39-58
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• 1998

In this research, first of all, the special feat-ures of Haute Couture design world (1990∼1996) prevailed in Paris and Rome are investigated, and additionally the understanding of collection concept and design structure analysis are performed to show the various method-ology of creative design. Expression method and design method are the main criteria in analyzing, and the main results of this research are summarized as follows : 1. Most of designers in Paris and Rome ex-press the traditional costume style. Paris designers are focusing on the expression of design morphology through the abstraction and re-appearance without being confined to theme expression ; Rome designers are expressing their main ideas utilizing the fashion image as their theme in lieu of expressing the design morphology. 2. Most of the designers in Paris and Rome are using simple lines for their design. Paris designers prefer the plastic design based upon formal and symmetrical balance of informal and asymmetrical balance to the partial trans-formation design ; Rome designers are enjoy-ing rather the partial transformation using the detail and trimming than the plastic design.

• 한국의류학회지
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• 제39권3호
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• pp.446-456
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• 2015

Many fashion designers now regard themselves as part of a visual medium that reveals their persona to the masses. They are willing to stay in the spotlight, which influences brand publicity. Designer-as-brand is an important marketing factor in regards to profits. This study combines a literary survey and case analysis of persona marketing as well as inquires on the persona of fashion designers drawing on the theory of persona. This study classifies the persona of fashion designers into four categories that proceed from what has been established above: freak, dandy, duo, and anonymity. The persona of fashion designers has attracted considerable attention over the past decade. This study provides useful information for the persona marketing of fashion designers.

• 유통과학연구
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• 제13권3호
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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.

• 복식
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• 제57권3호
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• Human Ecology Research
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• 제55권5호
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• pp.555-566
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• 2017

This study analyzes the practical tasks and required competency for technical designers to provide basic data on the training of domestic technical designers. The survey was applied to 21 technical designers of big vendors as well as investigated tasks, task flow, important tasks, time-consuming tasks, and required competencies. The results of the study are as follows. First, the technical designers were in charge of several brands of buyers and distributors of fashion companies, or several lines of the same brand. The main production items were cut and sewn knits. Second, the flow of task and tasks were in the order of buyer comments analysis, sloper decision to matching style, sewing specification, productive sewing method research, size specification suggestion, pattern correction comments, construction decision to matching style & fabric, sample evaluations, fit approval, business e-mail writing, specification & grading confirmation, and communication with buyer. Third, five tasks (analysis of buyer comments analysis, communication with buyer, pattern correction comments, productive sewing methods research, sample evaluation) were important and time-consuming tasks. Fourth, reeducation was required in order of sewing, pattern, English, fabric, and fitting. Fifth, competencies to be a technical designers were fitting, pattern correction, size specification & grading, construction & sewing specification, sewing terms & techniques, and communication skills. In conclusion, technical designer training should focus on technology-based instruction, such as sample evaluation, fitting, pattern correction, and productive sewing methods research of cut and sewn knits.

• 패션비즈니스
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• 제15권4호
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• pp.28-42
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• 2011

Philp Lim, Alexander Wang and Jason Wu are the American fashion designers as descendants of Chinese immigrants. They had the honor of being given the Swarovski Awards- new premier fashion designer- from CFDA(Council of Fashion Designers of America). The purpose of this study were to investigate the characteristics of their collection, and offered the informations for Korean designers entering the American market. This research categorized characteristics of these designers'- whole characteristics and the characteristics of details such as formal characteristics, optimistic characteristics, tactile characteristics-, and fashion styles from the S/S season of 2009 to the F/W season of 2010 were analyzed. These young and male designers being received attention as a star, didn't make creative art pieces. But they made pragmatic, commercial, and con-temporary works in whole characteristics and succeeded in their fashion business like other American designers. On the other hand they oriented high fashion clearly in terms of the detail characteristics - their own accent color, tiny change in variety, unique material, delicate ornaments. Therefore Lim created chic and stylish, Wang made a sporty street style, Wu made a luxury style with mannish and casual through work characteristics suitable for their costumer.

• 정보처리학회논문지D
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• 제9D권1호
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• pp.135-144
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• 2002

기존의 연구에 의하면 멀티미디어 시스템(Multimedia Systems)을 성공적으로 디자인하기 위해서는 다양한 관련분야의 전문가들 사이에 긴밀한 협력이 필요하다고 한다. 그러나, 그 전문가들은 서로 상이한 관점과 지식 체계를 가지고 있기 때문에 상호간 긴밀한 협력에 필수적인 지식을 공유하고 의견을 조율하는데 많은 어려움을 겪는다. 특히 최근 들어 멀티미디어 시스템 디자이너들이 가상의 팀(Virtual Team)을 형성하여 인터넷과 같은 컴퓨터 통신시스템을 활용함으로 해서 지식공유와 의견조율을 통한 협력은 한층 더 어렵게 되었다. 본 연구에서는 이러한 문제점을 해결하는 Designer's Cafe을 개발하는데 그 주요 목적을 두고 있다.