• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.40-57
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• 2018

This study investigated the design practice model based on the creative fashion designer's methodology in fashion education. 'The Design Cycle' was the criterion used to analyze the design method of Demna Gvasalia who is one of the outstanding contemporary designers. After that, this study's practice model was then developed and experimented to verify its effectiveness in design practice as based on Gvasalia's method where ready-to-wear products were firstly dissembled then re-constructed with new designs created based on re-constructed results. To test its effectiveness, a student oriented design workshop was held to extract design results through the practice model; in addition, the students also conducted a survey to evaluate the effectiveness of the method. According to the self-evaluation result, the participants generally accept the design efficiency through the distinctive process. An evaluation by three fashion experts was also conducted. Experts assessed that the model is recommendable for seniors having knowledges on 'Construction', it is appropriate to deal with the trickled-down copying trend that could promote student interest and generate separate results according to different visions. Therefore, it could be accepted that the applicability of this study's practice model was confirmed.

• Journal of Fashion Business
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• v.9 no.2
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• pp.1-19
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• 2005

The purpose of this study is to investigate the practice d social marketing of fashion business in Korea. A questionnaire was designed by the researcher and consisted of items of 30 items of social marketing practice in fashion business. Responsers are administrators and merchandisers who work in fashion business. Data were analyged using SPSS by frequency, mean, standard deviation, $x^2$-test, ANOVA and Duncan's multiple range test. The results of this study were as follows : 1. In decision-making method of social marketing, degrees of practice were shown comparatively high. And, three practice factors (consumerism, humanism, and environmentalism) showed indifference in six business characteristics (store type, staff number, annual budget, annual education method, education frequency, and the location). 2. In feedforward method of social marketing, degrees of practice were shown comparatively high. And, two practice factors (business strategy, and product strategy) showed indifference in seven business characteristics (date of establishment, store type, staff number, annual budget, education method, annual education frequency, and the location). 3. In administrative method of social marketing, degrees d practice were shown comparatively high. And, four practice factors (product development, price decision, distribution management, and advertisement and promotion) showed indifference in eight business characteristics (date d establishment, store type, staff number, annual budget, education method, annual education frequency, the location, and distribution structure). 4. In total system method of social marketing, degrees of practice were shown comparatively high. And, two practice factors (marketing planning, and self-audits system) showed indifference in six business characteristics (business size, store type, annual budget, education method, annual education frequency, and distribution structure). The present findings provide that social marketing of fashion business in korea has been practiced comparatively high.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.48-62
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• 2015

Practice is essential in art and design. Through practice, artists gain tacit knowledge that is hard to acquire from conventional academic studies. This paper characterizes practice-led research in the study of fashion and textile design through the investigation of practice-led research theses in the UK. According to relevant literature, which includes four exemplary case studies, the following features can be drawn: First, the methodology is different in each case and the use of practice is unconventional. Second, the research is not always aimed at making products. Third, the structure follows an iterative process. Fourth, the ratios of theory and practice are different and various theories are used. Fifth, a personal journal or diary is used for reflection as a major aid to research. Lastly, the process should be recorded by a thorough academic method. Practice-led research can have unexpected outcomes in theory and practice. It can be a good option for fashion practice research to develop a better evaluation method and reduce the gap between subjectivity and objectivity.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.151-167
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• 2010

This research is to analyze ethics in fashion design for more valuable and sustainable human life against the increasing alienation of the human being, the global ecological crisis resulted from contemporary consumption society. I expect that it can be helpful to plan ethical fashion design practice more effectively. For this, the documentary study and practical case study have been executed. The results are as follows. The ethics in design can be defined as the responsibility to reform the social, environmental problem of consumptive design, to sustain together without human alienation, environment disruption and to do social good for total human being ultimately. The ethical design practice means to suggest solutions to problems of human rights and environment and to act willingly. Based on this, ethical fashion design appeared as responsible design solution which has two directions. One is the fashion design for coexistence and sharing, including the design for all which considers even underprivileged minority, the design to promote public issues as well as to donate some profits. The other is the eco fashion design for sustainable environment, including eco-friendly design which is reductive and slow in whole design process, the design to inform the seriousness of environmental crisis as well as to donate some profits. The last one of the most important ethical responsibility as fashion designer is to abide by vocational ethics, that is, the prohibition of design piracy.

• The Research Journal of the Costume Culture
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• v.26 no.2
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• pp.140-156
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• 2018

The purpose of this study is to review and establish the three concepts of upcycling, zero-waste fashion design, and regional sustainability through a review of domestic and international case studies. Furthermore, it will provide the theoretical basis for using upcycling as a regional sustainability practice to create zero-waste fashion design. To conduct an empirical study, we systematized the stages of the survey on waste resources in Changsin-dong, the sourcing and utilization of waste resources, the design-planning stage, and the co-production with pattern and sewing masters as a suggested practice for regional sustainability. Through this study, we propose the possibility of regional sustainability by developing and sharing the method of zero-waste fashion design. The conclusion of the study as follows: First, upcycling fashion designs can be extended to a regional sustainability practice by taking the characteristics of social design into account. Second, by providing a design development process and methodology suitable for regional sustainability application, it is helpful to revitalize regional upcycling fashion brands and communities by providing data for upcycled fashion branding. Third, as part of the revitalization project for the Chang-shin and Soongin areas that started in 2014, using the region's economic, cultural, and environmental characteristics to make and sell high-value, upcycled fashion products will contribute to social and economic achievements and aid in solving regional problems.

• Korean Journal of Human Ecology
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• v.14 no.1
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• pp.179-192
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• 2005

The purpose of this study is to investigate into the practical cases of social marketing and to seek the practical strategy in fashion business. These practical cases were investigated through theses, professional books, fashion magazines, fashion newspapers, daily newspapers and web site, etc. The results of this study were as follows : 1. The social marketing by decision-making is able to practice and to set up a strategy in consumerism, humanism and environmentalism. 2. The social marketing by feedforward is able to practice and to set up a strategy in business strategy and product strategy. 3. The social marketing by administrative is able to practice and to set up a strategy in product development, price decision, distribution management and advertisement & promotion. 4. The social marketing by total system is able to practice and to set up a strategy in marketing planning and self-audits system.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.169-184
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• 2022

This study aims to discuss sustainable fashion trends and sustainable design directions that fashion companies are practicing with ESG in the post-corona new normal era. As a research method, this study examined sustainable fashion trends and ESG practices through empirical case studies focusing on each fashion brand's website, including previous research and literature research, using materials such as newspapers and magazines. As for ESG practice plans, they were divided into four categories: technology orientation, design orientation, consumption orientation, and social value pursuit orientation. The sustainable fashion trends were also divided into four categories. First, the trend exhibits cyclical sustainability using pro-environmental materials, such as pro-environmental fibers, recycled fibers, biodegradable fibers. Second, high sensitivity and rare value sustainability were shown using reuse and upcycling. Third, consumption-oriented trends were promoted through slow fashion. Fourth, in order to realize eco-friendly sustainable fashion and ESG as practical ways to pursue social values, there is a trend of integrating sustainability through changes in perception considering people, society, and the environment. Beyond spreading concern about value consumption trends and the environment, it presents a direction for future industries concerning core values with social roles, responsibility, and ethical awareness from various perspectives.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.17-28
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• 2014

Design piracy is the unauthorized copying of another designer or manufacturer's work. While controversial, it is an institutionalized practice in the apparel industry. The purpose of this study was to better understand student perceptions of design piracy, particularly as it is one they will encounter in their future careers. The authors interviewed twenty-four apparel design students at a land-grant Midwestern University. Data was analyzed using theme analysis. Three themes developed including: 1) Expressions of cognitive dissonance in statements expressing enjoyment of the practice of design piracy as a consumer; yet disappointment when (and if) their own design work was copied. 2) Concerns regarding the definition of originality and the logistics of enforcing a plan against design piracy. 3) Differences of opinion regarding the prevalence of the practice, particularly if the students had industry experience or not. Advice for professors from students regarding piracy is included.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.18-33
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• 2023

Zero-waste pattern cutting is a groundbreaking sustainable fashion practice. However, few brands and designers have pursued this method because it requires creative pattern design that diverges from the existing process of using pattern slopers. Therefore, application within the fashion industry is not sufficient. Therefore, in an attempt to highlight the key characteristics of zero-waste pattern design, this study classifies and analyzes cases in which similar designs employ zero-waste pattern-cutting techniques. We hope to make zero-waste pattern design more accessible by presenting realistic pattern-cutting guidelines. To this end, theoretical research on relevant literature, previous research, and online resources and an empirical analysis of cases involving zero-waste pattern cutting were conducted in parallel. As a result of the study, we were able to classify the factors of zero-waste pattern design in terms of fabric use, design, and composition. Regarding materials, our research revealed the importance of appropriate fabric width, understanding the difference between waste minimization and minimal fabric use, and easy reuse and recycling. In terms of design, the simultaneous progress of pattern and design work, adjustable loose silhouettes, and the use of surplus fabric for functional and decorative details emerged as key characteristics. For composition, we found that size adjustment limits, arrangement irregularity, and pattern shapes were crucial elements and that various arrangements revealed unlimited design potential.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.45-48
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• 2004