• Korean Institute of Interior Design Journal
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• no.9
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• pp.77-85
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• 1996

The purpose of this study is to examine losely how the Rococo style, which reached its summit in the history of French furniture, was realized in its social background and mode of life. Based ion this examination , this study will explore desirable directions for developing our domestic furniture design. For this purpose , existing literature will be referred to and analyzed to arrange into a new system. Rococo furniture style was the product of joyous and aristocratic living . This was based upon the historical development of French interior design, established by the national mode of Versailles Palace. Hereafter, royal style came into fashion paralleled with the luxuries of the court. Pursuit of new , interesting or beyond-expectation fashions encouraged the creation of new and imaginative forms and designs . The elegnant taste of customers, the new techniques of furniture manufacturing , and the unique sales strategies of merchants were social phenomena which contributed to the development of Rococo furniture. Furthermore , Louis XV`s private and personal life led to society`s pursut of comfortable and convenient living . Under these circumstances, small and cozy rooms for various uses came into the interior. Accordingly, the scales of furniture became smaller and any types of furniture with their own uses and feminine nature were manufactured , especially by the bnistes. Rococo furniture with fmine beanty and refined line, beatifil proportion and elegant sculpture, and solidity and clarity in general , is not only furniture for the use of man, but also furniture in harmony with man. As we see the stages of development and the characteristics of Rococo furniture, development of Korean furniture is a common task which can be accomplished through the participation of the designer, manufacturer, seller and consumer. Based on this co-operation , the furniture industry must make an improvement in furmture design, lestablish a permanent store in which new works are displayed. publicize activities and sales, promote exhibitions and seminars, and encourage technical development through the government and other interested organizations.

• Journal of Information Technology Applications and Management
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• v.30 no.1
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• pp.115-126
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• 2023

In various fields such as art, design, music, film, sports, games, and fashion, NFTs (Non-Fungible Tokens) are creating new economic value through trading platforms dedicated to NFT art and content. In this article, I analyze the current state of blockchain technology and NFT art content in the context of an expanding market for blockchain-based NFT art content in the metaverse. I also propose several tasks based on the economic and industrial logic of technological innovation. The first task proposed is to integrate cultural arts on blockchain, metaverse, and NFT platforms through digital innovation, instead of separating or distinguishing between creative production and consumption. Before the COVID-19 pandemic, there was a clear separation between creators and consumers. However, with the rise of Web 3.0 platforms, any user can now create and own their own content. Therefore, it is important to promote a collaborative and integrated approach to cultural arts production and consumption in the blockchain and metaverse ecosystem. The second task proposed is to align the legal framework with blockchain-based technological innovation. The enactment and revision of relevant laws should focus on promoting the development of the NFT trading platform ecosystem, rather than merely regulating it for user protection. As blockchain-based technology continues to evolve, it is important that legal systems adapt to support and promote innovation in the space. This shift in focus can help create a more conducive environment for the growth of blockchain-based NFT platforms. The third task proposed is to integrate education on digital arts, including metaverse and NFT art contents, into the current curriculum. This education should focus on convergence and consilience, rather than merely mixing together humanities, technology, and arts. By integrating digital arts education into the curriculum, students can gain a more comprehensive understanding of the potential of blockchain-based technologies and NFT art. This article examines the digital technological innovation such as blockchain, metaverse, and NFT from an economic and industrial point of view. As a limitation of this research, the critical mind such as philosophical thinking or social criticism on technological innovation is left as a future task.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.18 no.2
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• pp.311-326
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• 2024

The rapid development of neural network technology promotes the neural network model driven by big data to overcome the texture effect of complex objects. Due to the limitations in complex scenes, it is necessary to establish custom template matching and apply it to the research of many fields of computational vision technology. The dependence on high-quality small label sample database data is not very strong, and the machine learning system of deep feature connection to complete the task of texture effect inference and speculation is relatively poor. The style transfer algorithm based on neural network collects and preserves the data of patterns, extracts and modernizes their features. Through the algorithm model, it is easier to present the texture color of patterns and display them digitally. In this paper, according to the texture effect reasoning of custom template matching, the 3D visualization of the target is transformed into a 3D model. The high similarity between the scene to be inferred and the user-defined template is calculated by the user-defined template of the multi-dimensional external feature label. The convolutional neural network is adopted to optimize the external area of the object to improve the sampling quality and computational performance of the sample pyramid structure. The results indicate that the proposed algorithm can accurately capture the significant target, achieve more ablation noise, and improve the visualization results. The proposed deep convolutional neural network optimization algorithm has good rapidity, data accuracy and robustness. The proposed algorithm can adapt to the calculation of more task scenes, display the redundant vision-related information of image conversion, enhance the powerful computing power, and further improve the computational efficiency and accuracy of convolutional networks, which has a high research significance for the study of image information conversion.

• The Journal of the Korea Contents Association
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• v.6 no.9
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• pp.132-140
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• 2006

As a competition of the internet shopping mall is getting worse, the manager of the internet shopping mall has to know about the internet shoppers. To know about the internet shoppers is an important and difficult task. Accordingly, this paper is designed to take a look at the direction and the patterns of the development of new products as well as changes in the needs of clients in the concepts of client-satisfaction administration executed in the administration of enterprises. In order to outlive from these economic situation and struggle for existence, we are in need of detailed strategies and service for only a customer, and differential goods from other items. The purpose of this study was to review the gap between the progress of individualization and consumrirs' expectations on the Internet shopping malls centering around the apparel shopping malls - which are most obliged to satisfy the consumers who are extremely individualized - and thereupon, explore the directions for development of on-line shopping mall designs.

• Journal of Global Scholars of Marketing Science
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• v.20 no.3
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• pp.239-248
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• 2010

This paper describes a collaborative project between academia and industry which focused on improving the marketing and product development strategies for two private label apparel brands of a large regional department store chain in the southeastern United States. The goal of the project was to revitalize product lines of the two brands by incorporating student ideas for new solutions, thereby giving the students practical experience with a real-life industry situation. There were a number of key players involved in the project. A privately-owned department store chain based in the southeastern United States which was seeking an academic partner had recognized a need to update two existing private label brands. They targeted middle-aged consumers looking for casual, moderately priced merchandise. The company was seeking to change direction with both packaging and presentation, and possibly product design. The branding and product development divisions of the company contacted professors in an academic department of a large southeastern state university. Two of the professors agreed that the task would be a good fit for their classes - one was a junior-level Intermediate Brand Management class; the other was a senior-level Fashion Product Development class. The professors felt that by working collaboratively on the project, students would be exposed to a real world scenario, within the security of an academic learning environment. Collaboration within an interdisciplinary team has the advantage of providing experiences and resources beyond the capabilities of a single student and adds "brainpower" to problem-solving processes (Lowman 2000). This goal of improving the capabilities of students directed the instructors in each class to form interdisciplinary teams between the Branding and Product Development classes. In addition, many universities are employing industry partnerships in research and teaching, where collaboration within temporal (semester) and physical (classroom/lab) constraints help to increase students' knowledge and experience of a real-world situation. At the University of Tennessee, the Center of Industrial Services and UT-Knoxville's College of Engineering worked with a company to develop design improvements in its U.S. operations. In this study, Because should be lower case b with a private label retail brand, Wickett, Gaskill and Damhorst's (1999) revised Retail Apparel Product Development Model was used by the product development and brand management teams. This framework was chosen because it addresses apparel product development from the concept to the retail stage. Two classes were involved in this project: a junior level Brand Management class and a senior level Fashion Product Development class. Seven teams were formed which included four students from Brand Management and two students from Product Development. The classes were taught the same semester, but not at the same time. At the beginning of the semester, each class was introduced to the industry partner and given the problem. Half the teams were assigned to the men's brand and half to the women's brand. The teams were responsible for devising approaches to the problem, formulating a timeline for their work, staying in touch with industry representatives and making sure that each member of the team contributed in a positive way. The objective for the teams was to plan, develop, and present a product line using merchandising processes (following the Wickett, Gaskill and Damhorst model) and develop new branding strategies for the proposed lines. The teams performed trend, color, fabrication and target market research; developed sketches for a line; edited the sketches and presented their line plans; wrote specifications; fitted prototypes on fit models, and developed final production samples for presentation to industry. The branding students developed a SWOT analysis, a Brand Measurement report, a mind-map for the brands and a fully integrated Marketing Report which was presented alongside the ideas for the new lines. In future if the opportunity arises to work in this collaborative way with an existing company who wishes to look both at branding and product development strategies, classes will be scheduled at the same time so that students have more time to meet and discuss timelines and assigned tasks. As it was, student groups had to meet outside of each class time and this proved to be a challenging though not uncommon part of teamwork (Pfaff and Huddleston, 2003). Although the logistics of this exercise were time-consuming to set up and administer, professors felt that the benefits to students were multiple. The most important benefit, according to student feedback from both classes, was the opportunity to work with industry professionals, follow their process, and see the results of their work evaluated by the people who made the decisions at the company level. Faculty members were grateful to have a "real-world" case to work with in the classroom to provide focus. Creative ideas and strategies were traded as plans were made, extending and strengthening the departmental links be tween the branding and product development areas. By working not only with students coming from a different knowledge base, but also having to keep in contact with the industry partner and follow the framework and timeline of industry practice, student teams were challenged to produce excellent and innovative work under new circumstances. Working on the product development and branding for "real-life" brands that are struggling gave students an opportunity to see how closely their coursework ties in with the real-world and how creativity, collaboration and flexibility are necessary components of both the design and business aspects of company operations. Industry personnel were impressed by (a) the level and depth of knowledge and execution in the student projects, and (b) the creativity of new ideas for the brands.

• Journal of the Korea Computer Graphics Society
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• v.29 no.3
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• pp.117-125
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• 2023

In the development of clothing design through virtual simulation, it is essential to minimize the differences between the virtual and the real world as much as possible. The most critical task to enhance the similarity between virtual and real garments is to find simulation parameters that can closely emulate the physical properties of the actual fabric in use. The simulation parameter optimization process requires manual tuning by experts, demanding high expertise and a significant amount of time. Especially, considerable time is consumed in repeatedly running simulations to check the results of applying the tuned simulation parameters. Recently, to tackle this issue, artificial neural network learning models have been proposed that swiftly estimate the results of drape test simulations, which are predominantly used for parameter tuning. In these earlier studies, relatively simple linear stiffness models were used, and instead of estimating the entirety of the drape mesh, they estimated only a portion of the mesh and interpolated the rest. However, there is still a scarcity of research on non-linear stiffness models, which are commonly used in actual garment design. In this paper, we propose a learning model for estimating the results of drape simulations for non-linear stiffness models. Our learning model estimates the full high-resolution mesh model of drape. To validate the performance of the proposed method, experiments were conducted using three different drape test methods, demonstrating high accuracy in estimation.

• Journal of Fashion Business
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• v.6 no.2
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• pp.1-16
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• 2002

The need for ready-to-wear clothing increases as the problem comes to arise from the fit of custommade clothing due to the characteristics of middle-aged women's somatotype. At this point of time, a study on the realities of production of custom-made clothing in middle-aged women's clothing business firms is of very greatly significance. Therefore, this study was intended to identify the problem and improvements through the survey research of production of custom-made clothing in middle-aged women's clothing business firms and further present the plan for development of custom-made clothing business. The questionnaire was framed based on the contents extracted from the preliminary questionnaire research for the pattern section chief of each business firm. Collected data were statistically processed using the SPSS 10.0 Windows program. As a result, the following findings were obtained: 1. The target age of the middle-aged women's clothing business firms ranged from more than 45 years to less than 50 years of age. Clothing business firms much made inroads into the ready-to-wear clothing market largely in the 1980s and the 1990s. Their active entry into the custom-made clothing market occurred in the 1970s and the 1980s. 2. In terms of the clothing production method of middle-aged women's clothing firms, some private boutique and designer brand clothing firms entered the clothing market with a focus on custom-made clothing in the beginning of its organization and introduced the production method of ready-to-wear clothing in accordance with changes in production methods and consumers' needs and wants. National brand clothing firms manufactured clothing with a focus on ready-to-wear clothing from the beginning of its organization, but at last they manufactured both partial custom-made and whole custom-made as the problem arose from ready-to-wear clothing. Seeing that their clothing production showed the ratio readyto-wear to custom-made clothing of 2.58:1. And it was found that the manufacture of ready-to-wear and custom-made clothing took into consideration the great difference in the pattern, size and design plan. The research of the clothing production process showed that whole custom-made and partial custommade were distinguished according to whether or not the sample was presented. 3. The ready-to-wear pattern of middle-aged women's clothing firms were used with a focus on the 'patternmaker-developed pattern' and company-developed pattern'. Most clothing businesses produced clothing in 4 to 5 basic sizes, which is found to be insufficient to complement the physical characteristics of middle-aged women with many specific somatotypes. In the pattern of custom-made clothing, the 'pattern of ready-to-wear were applied' or the 'customized pattern was developed'. Actual measurements were most used as the size of custom-made, and accordingly it is predicted that the level of satisfaction is higher with the fit of custom-made clothing than that of ready-to-wear. The selling place and the head office showed the similar percent as the place for measuring the size of custom-made clothing. Size measurers were mostly the shop master. And it was found that most clothing business firms had a problem when the measured size was applied to the pattern. Accordingly, it is necessary to provide education on size measurement for shop masters. 4. It was found that in the middle-aged women's clothing firms, the pattern correction of the length of sleeve, jacket and slacks occupied the highest percent. Accordingly, it is necessary to provide for the size system to complement the accurate somatotype characteristics of middle-aged women. 5. In custom-made clothing customer management, most firms engaged in customer somatotype management through size management. They provided customers with commodity information by informing them of the sales and event period and practiced human management for customers by maintaining the get-together and friendly relationship. 6. Middle-aged women's clothing businesses responded that it would be necessary to improve the fit of custom-made clothing and complement their pursuit for individuality as the plan to improve its quality. In consequence, it suggests that middle-aged women's clothing businesses should provide middle-aged women with the clothing of better-suited size and refined design. Middle-aged women's clothing businesses responded that it was the most urgent task to form the custom-made clothing manufacturing team as the plan to expand the custom-made clothing market, which is identified as their emphasis on the systematized production of custom-made clothing.