• 디지털산업정보학회논문지
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• 제18권1호
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• pp.65-77
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• 2022

The purpose of this study is to develop a competency strengthen program with the aim of training designers who respond to changing national policies in the era of artificial intelligence. To this end, this study was conducted through a total of five steps. First, through literature research and analysis of prior research and literature related to the role of training designers and HRD managers was investigated and analyzed, and based on related prior research, theoretical and academic grounds for training designer competency modeling were prepared. In the second stage, a draft training program was developed to strengthen the competency of training designers based on the needs analysis of stakeholders and advice from education experts. In the third stage, a pilot program was conducted based on the draft training program. In step 4, the effectiveness verification was confuted and the deficiencies of the training program were derived from the pilot program. Finally, the final draft of the training program for strengthening the competency of training designers in the era of artificial intelligence was developed. The final training program consisted of 10 modules and was designed to run for three days. The details of specific training program are presented in the article.

• 한국콘텐츠학회논문지
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• 제16권11호
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• pp.675-682
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• 2016

디자인 재능기부는 새롭게 진화된 사회공헌활동의 한 형태로 디자인이라는 전문적 기술 및 경험을 사회와 나누는 활동을 말한다. 본 연구의 목적은 디자이너의 사회적 위치에 따라 어떠한 요인이 디자인 재능기부에 대한 참여의향에 영향을 주는지 실증적으로 규명해 보는 데 있다. 연구 조사 방법으로 디자인 재능기부에 참여 가능한 잠재적 자원인 디자이너의 역량을 전문 디자이너와 예비 디자이너로 분류하고 각각의 집단에 영향을 주는 요인에 대한 설문 조사를 실시했으며, t-test를 활용한 결과 분석을 통해 두 집단 간의 통계적 차이를 검증했다. 분석 결과 전문 디자이너와 예비 디자이너 집단 간 디자인 재능기부 참여에 대한 영향요인 중 개인적 이익에 대한 기대욕구와 사회적 이익을 위한 참여 욕구에서 유의한 차이가 있음을 알 수 있었으며, 디자인 재능기부를 통한 기대보상의 유형은 사회적 위치와 유의미한 상관관계가 없음을 알 수 있었다. 결론적으로 디자인 재능기부 참여의향에 따른 영향요인을 통해 사회적 위치에 따른 디자이너의 디자인 재능기부 인식수준의 차이를 확인할 수 있었으며, 이를 바탕으로 잠재적 재능기부 제공자인 디자이너의 경력에 따라 디자인 나눔 사업의 방향을 세분화해야 한다는 시사점을 보여주었다.

• 복식
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• 제60권7호
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• pp.31-46
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• 2010

Fashion industry is faced with issues of raising the competitiveness of established designers recently. As well as the change of business system, the specialization of professionals in design team increases the needs of in-service training of fashion designers. But, the education programs of enterprise are generally focused on adaptability to the organization and harmony among men as an introduction level. Furthermore, there are few professional institutions that give an education to the working-level designers. Thus, this study aimed at development of specialized in-service training program that could educate established designers for more integrated thought to cope with rapid changes in the fashion field. Firstly, the theoretical study on the in-service training and changes of fashion environment had been studied through literature review. Then, the current state of in-service training of fashion enterprises and the courses for established designers in fashion institutions were analysed. Finally, a comprehensive framework of in-service training program for fashion designers has been established as a result of this study. The program was designed in accordance with the previous research which reached 4 different educational needs for in-service training: brand planning and management, understanding production, understanding practical fabrics & colors, computer program. The study went further to apply the program to each design group divided by career: new designer, junior designer, senior designer, design leader. This study also suggested evaluation process to confirm the effects.

• 한국의류산업학회지
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• 제17권3호
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• International Journal of Costume and Fashion
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• 제6권2호
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• pp.55-61
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• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• 복식
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• 제66권7호
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• pp.124-138
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• 2016

The present study observes collaboration methods in which 3D printing was a part of the fashion manufacturing process, expression methods of such cases, and their ripple effects. As a result, the three types of collaborations between fashion designers and other industry fields, fashion brands and 3D printing companies, and fashion designers and artists. Case analysis results and ripple effects found according to each collaboration method were as follows. First, in collaborations found were between fashion designers and other industry fields, 3D printed fashion works with futuristic images were seen through the fusion of future industries, which claim to support cutting edge digital technology, and creative fashion design. As they were mainly collaborations between automobile industries with cutting edge images or digital related industries and fashion designers, they were expressed as a new form of experimental clothing, and were used as strategies to improve future corporate images of the high tech industry. Second, in collaborations between fashion brands and 3D printing technology businesses, the sporting good brands and the shoe industry attempted to let their products be known through the promotion of functional material or ergonomic technology. While they emphasize practicality by mainly using flexible material, they were mainly proposed as functional sporting goods for famous players or as shoe accessories, so methods are still used for public distribution as brand promoting marketing strategies. Third, with collaborations between fashion designers and artists, creative pieces were shown through the grafting of 3D printing technology, the artistry of artists, and the experimentation of fashion designers. In particular, the innovative value of fashion as art was created through the union of the artistic 3D modeling technology support of artists and the creativity of designers. Like this, 3D printing fashion can graft the cutting edge nature of fashion to other industry fields through collaborations, enhancing pacesetting images, and in the fashion field, it can improve possibilities for innovations in the fashion industry through the support of 3D printing technology businesses and artists, raising expectations towards future human living.

• 한국게임학회 논문지
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• 제16권3호
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• pp.17-26
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• 2016

국내 게임산업현장에서 게임시스템 기획은 기획자가 게임컨셉을 만족하는 게임플레이가 이루어지는 게임메카닉스 시스템을 데이터구조적 설계방법으로 creative design 작업관점에서 초기적으로 설계하는 작업이다. 그러나 프로그래머는 구현을 위해 기획내용을 바탕으로 게임시스템을 객체지향적 방법으로 engineering design 작업관점에서 설계한다. 이러한 작업방식은 기획자와 프로그래머 사이에 의사소통 과정에서 다양한 오류들과 작업결과물의 미스매칭 오류들의 발생가능성이 높다. 이 문제를 해결하기 위해, 본 논문에서는 기획자가 객체지향적 설계방법으로 게임시스템을 기획하는 방법을 제안하였다. 제안하는 방법은 객체지향적 SW 개발 가이드라인인 GRAPPLE을 기반으로 기획자의 게임시스템 기획에 적합하도록 커스터마이징한 것이다. 본 논문에서 제안한 게임시스템 기획방법의 효용성을 조사하기 위해 국내 게임산업체에 근무하는 게임시스템 기획자 10명을 대상으로 설문조사하였다. 설문 조사결과는 거의 모든 대상자들이 제안한 방법의 효용성이 '조금 이상' 있음으로 나타났다.

• 복식
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• 제56권6호
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• 디지털융복합연구
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• 제14권9호
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• pp.447-452
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• 2016

디자이너는 자신의 저작권을 관리하는 주체가 되어야 한다. 예상치 못하게 디자이너는 자신의 저작권을 침해당하는 경우와 자신이 타인의 저작권을 침해하는 경우에 놓일 수 있다. 하지만 디자이너가 이러한 경우 어떻게 대응해야하는지 훈련되어 있는 디자이너는 많지 않다. 침해자 측에 저작권 침해 사실을 알리는 과정부터, 소송 여부의 판단, 디자인 유사성의 판단 기준 등 디자이너가 주체적으로 판단해야할 것들이 상당히 많다. 본 연구는 2012년부터 2014년까지 진행된 저작권 소송(사건번호 서울중앙지방검찰청 2012형 제30854호, 서울지방법원 2012년 가합 제 102749호) 과정 분석을 통해 디자이너를 위한 저작권 침해 대응 방안을 연구하였다. 그리고 대응과정을 체계화하여 개인의 대응, 법적대응, 판결과정을 정리하여 참고할 수 있도록 하였다. 향후 저작자가 저작권 침해에 대응할 수 있는 다양한 프로세스에 대한 연구가 요구된다.

• 한국의류학회지
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• 제45권1호
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• pp.136-154
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• 2021

'Slow fashion' has become a hot issue in the fashion world as fast fashion has caused environmental and ethical problems. This study synthesized the characteristics of slow fashion from preceding studies and organized them into four characteristics (craftsmanship, nature-friendly attitude, localism, and pursuit of exclusive value). This study compared designers, John Alexander Skelton and Geoffrey B. Small with four characteristics. First, both designers sought craftsmanship based on tailoring, but Skelton focused on the eco-friendliness of materials, and Small emphasized the development of high-quality fabrics. Second, we found a nature-friendly attitude in both designers, but unlike Skelton, which maintains nature-friendliness in the process of clothing production, Small showed this characteristic through presentations. Third, both designers revealed localism through their affection for the fabrics and culture of each country. Moreover, Small extended its meaning to respect minority tastes. Finally, both designers pursued exclusive values through collections under the themes of class problem, and gender conflicts. However, Skelton melted these topics into British culture and revealed them indirectly versus Small who showed sensitive topics directly in the collections. This study will provide the foundation for analyzing designers through the characteristics of slow fashion, and suggests directions that slow fashion designers should move towards.