• Journal of Korea Multimedia Society
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• v.16 no.6
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• pp.708-719
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• 2013

Purchase of clothes has recently picked up pace at mobile fashion shopping malls. One of the biggest weak points is that consumers can't coordinate clothes. Since individuals increasingly want to make coordination, a fashion coordination system to satisfy the demand should be developed. As the technology of digital clothing which is about reproducing dresses using computer graphic has been activated in the fashion industry, many changes in consumers' life patterns and interests in fashion shopping malls are taking place. Some consumers are increasingly more keenly interested in shopping on the Internet and Smart phones than in offline stores. This study was conducted to understand production of iPhone-based augmented reality fashion fitting contents which is suitable for Koreans' body shape. This system is about designing and materializing UI(User Interface), an augmented reality fitting system, so that users can confirm if they look nice with those fashion items using Smart phones. A new fashion shopping method satisfying user convenience was suggested using the materialized system.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.33-47
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• 2015

The purpose of this study is to understand the ideas of characteristic of convergence design related to slow fashion design. Convergence design in digital stage can be defined as a social phenomenon which different function of product move toward one direction for greater efficiency. Slow fashion is based on the Slow Movement. (This is a movement with similar principles to the Slow Food Movement, as it promotes an alternative mass production, such as fast fashion.) The aims of this research are to study slow fashion that has appeared in the fashion industry through various approaches for convergence designs, and to find the possibility of use for slow fashion. The research method consisted of carrying out case studies and analyzing literatures and proceeding cases. The characteristics of convergence designs are classified into technical convergence, emotion-oriented convergence and complex convergence. Technical convergence has an effect on slow fashion as a multi-functional design. Second, emotion-oriented convergence affects social-cultural design. Slow fashion related to a complex convergence design reveals emotion-oriented deign. Slow fashion is related to convergence design is to expect contribute to provide a good source for the future fashion industry and fashion market.

• Journal of Korea Multimedia Society
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• v.22 no.8
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• pp.897-912
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• 2019

The growth of domestic fashion industry market went sluggish affected by long-term slow growth and shrinking consumer sentiment since 2012, and the entire market has shown a slight growth since 2017. Yet only some conglomerates or global businesses experience this growth. Small and medium-sized fashion companies or rising fashion designers in South Korea, face real limitations and problems poor capital, lack of professional workforce, experience, information and educational opportunity as well as difficulty of acquiring distribution network, which lead to further polarization between conglomerates and small businesses. Thus, this study proposed mobile virtual viewer system-based collaborative application prototype capable of overcoming limitations and problems drawn by analyzing business environment of domestic brands launched by rising fashion designers. Especially, through applied template-based 3D virtual fashion design technology and performing the entire process in the virtual reality beyond spatial and temporal restraints, it is assumed that more effective and efficient outcomes can be obtained compared to the previous method.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.1-12
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• 2008

The expansion of media art has not only developed the digital technology but also given lots of environmental evolution to improve various fields of design as the main topic of the 21st century. The purpose of this study is aimed at proposing the new design that integrates fashion accessaries with media art technology. This will be done by understanding the social environment in digital ages and studying technology of design based on a variety of literature about changes in our society, neo value, vision, culture and art with fundamental notion of media art. First stage for this study, put an idea into just fashion accessary design because it is not sufficient to incoporate fashion and media art technology. The presented OLED(Organic Light Emitting Diodes) in this study is a kind of display to be in a limelight in the next generation and can be applied to various field of design. media art simultaneously moved into the scope of artistic debates. As a result, we can found that the use of audiovisual introduced numerous new aspects to the conceptual and aesthetic engagement with questions of conception. Today, the presented forms of art and inter-action from the closed -circuit work to interactive media art installations to open process-exist as parallel possibilities.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.5
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• pp.825-839
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• 2017

Generative Art (also called as the art of the algorithm) creates unexpected results, moving autonomously according to rules or algorithms. The evolution of digital media in art, which tries to seek novelty, increases the possibility of new artistic fields; subsequently, this study establishes the basis for new design approaches by analyzing visual cases of Generative Art that have emerged since the 20th century and characteristics expressed on fashion. For the methodology, the study analyzes fashion designs that have emerged since 2000, based on theoretical research that includes literature and research papers relating to Generative Art. According to the study, expression characteristics shown in fashion, based on visual properties of Generative Art, are as follows. First, abstract randomness is expressed with unexpected coincidental forms using movements of a creator and properties of materials as variables in accordance to rules or algorithms. Second, endlessly repeated pattern imitation expresses an emergent shape by endless repetition created by a modular system using rules or 3D printing using a computer algorithm. Third, the systematic variability expresses constantly changing images with a combination of system and digital media by a wearing method. It is expected that design by algorithm becomes a significant method in producing other creative ideas and expressions in modern fashion.

• Journal of Fashion Business
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• v.17 no.6
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• pp.88-97
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• 2013

'Smart Clothes', which incorporate topnotch digital technology into fashion, are a leading fashion runner in this digital era. The purpose of the study is to first help develop a practical design for outdoor backpacks which are equipped with eco-friendly solar cells that facilitate recharging diverse smart devices during outdoor activities; and, secondly, to offer some practical data from the actual appropriation tests that will be used for manufacturing such products. This trial study finds out how to conjoin some practical IT devices with fashion items and mainly focusses on designing outdoor backpacks which are loaded with solar cells for recharging electric devices, and, later, experiments on designed backpacks with some smart phones to see how it works. According to the desired purposes of backpacks, all the features can be adjusted and modified such as the kinds of solar cell panels, materials, sizes, positions of attachment, weights, etc. Smart Clothes are highly functional and fashionable items that satisfy both practical and emotional purposes, and are being actively developed to serve consumers. This study proves that Smart Clothes or Smart Wear will have practical uses for outdoor activities and will possibly lead our smart lifestyles.

• Journal of Fashion Business
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• v.21 no.2
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• pp.1-15
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• 2017

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today's fashion can be explained as follows: First, 'virtual reality', which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, 'form transformability', which is often found in fashion products, promotes customers' purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, 'integration of different fields', which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, 'interactive responsiveness', which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.

• Journal of Fashion Business
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• v.12 no.5
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• pp.39-53
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• 2008

Today is a 'high concept' era in which consumers make sensible consumption that shares a sensible bond with a brand. Therefore, it is important to analyze consumers' aesthetic awareness; namely, fashion feeling in the fashion industry. This study conducted research into a fashion design planning process according to a fashion feeling focusing on computer graphics suited to the 21st century digital trend. First, the study classified a fashion feeling with eight senses including elegance, classic, modern, mannish, sporty, avant-garde, ethnic, and romantic feelings. Second, the study made an image map, color map, material map, and style map with Adobe Photoshop CS3 by dividing a fashion planning process with a computer graphics program. Also, the study made a flat illustration with Adobe Illustrator CS3. Third, the study proposed the image map, color map, material map, style map, fashion illustration and flat illustration in the design planning process under the theme of the aforementioned eight fashion feelings.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of Fashion Business
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• v.27 no.1
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• pp.1-15
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• 2023

This study divided articles into two time periods, from 2012 to 2022, with the aim of using big data analysis to look at patterns in the ecosystem of fashion start-ups. The research method extracted top keywords based on TF(Term Frequency) and TF-IDF(Term Frequency-Inverse Document Frequency), analyzed the network, and derived centrality values. As a result of comparing the first and second fashion startup ecosystems, elements of policy, support, market, finance, and human capital were derived in the first period. In addition, in the second period, elements of policy, support, market, finance, and culture were derived. In the first period, the fashion startup ecosystem focused on fostering new designer startups by emphasizing support, finance, and human capital factors and focusing on policies. Meanwhile, in the second period, online-based fashion platform startups and fashion tech startups appeared with the support of digital transformation and fulfillment services triggered by COVID-19(Corona Virus Disease 19), private finances were emphasized, and cultural factors were derived along with success stories of fashion startups. This study is meaningful in that it helps in developing strategies for fashion startups to grow into sustainable companies.