• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.137-153
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• 2015

This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.705-715
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• 2020

The domestic fashion industry of the middle and late 20th century emphasized the importance of a standardized design process; however, the values of differentiated brand individuality have become increasingly important with the qualitative·quantitative growth of designer brands. Therefore, paying attention to designer individuality (or a differentiated element of a designer brand growing up in the domestic fashion industry) this study reestablished factors of the designer brand individuality. An in-depth interview was conducted with 13 designers and consumers for empirical analysis. In order to identify concepts of designer individuality based on the theory of the brand personality by Aaker along with precedent studies, the study devised a theoretical frame to explain a conceptual structure of designer brand individuality as well as reestablish its factors as the designer individuality, design and non-design factors through empirical research. Empirical research derived the designer individuality factors as an external designer image, designer taste, design philosophy and designer personality. Design factors were derived as concept, working process and method, style and formativeness. Non-design factors were also extracted as wearing experience, wearer image, lookbook image, fashion shows and exhibitions. It is meaningful that little empirical research has been conducted on domestic fashion designers who actually run designer brands and that this study helped understand designer brands through a new approach called designer individuality.

• Journal of Fashion Business
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• v.23 no.4
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• pp.24-37
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• 2019

This study focused on the fashion designer brand 'Alexander McQueen' to determine how butterflies are used in modern fashion through the sensibilities of certain designers. To this end, both a literature review and empirical research were conducted. First, we examined the origin of the word and appearance characteristics of butterflies based on prior research and a book, and also surveyed the tendencies used by the fashion designer brand Alexander McQueen. Second, out of 239 items announced by the fashion designer brand "Alexander McQueen" RTW (Ready to Wear) ranging from the S/S Collection in 2008 to the 2018-9 F/W collection, 73 pieces deemed to be fashion using butterfly images were collected through www.samsung.net and www.firstview.com, then analyzed based on timing and aesthetic characteristics. Results. The analysis by time period was divided into fantasy, handicraft, mix and match, and aesthetic characteristics shown in the order of compromise beauty, rhythmical beauty, and voluptuous beauty. The purpose of this study was to determine how butterflies are expressed in fashion based on the sensibility of a specific designer in modern fashion, the fashion designer brand 'Alexander McQueen'. Based on the results of this study, we hope that the information presented herein on fashion of natural images will serve as a basic material for similar research or design ideas as an example of designs based on butterfly images.

• Journal of Fashion Business
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• v.21 no.3
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• pp.58-66
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• 2017

This study investigated the key role of sketches in creative fashion design by observing the cognitive process of idea development through a professional's design problem solving using the medium of hand sketching. The three-part semi-constrained design experiment with a professional designer, in which the participant designer was provided a source of inspiration image and asked to design a small collection of outfits, identified a fashion designer's idea development process as involving two phases of sketch processes: lateral and vertical transformation. Analysis of the video/audio recording and corresponding interviews validated lateral transformation in the designer's use of sketches to represent interpretation of the provided inspiration source. Through sketching, the designer transferred fuzzy ideas onto paper. Vertical transformation was observed through the designer's modification of previous ideas after reflecting on earlier sketches, with various ideas divided, manipulated, discarded, regrouped, and combined through sketching activities. The designer's sketching process is valuable design knowledge that facilitates the idea development process and ultimately triggers generation of creative ideas. Understanding it may benefit practitioners and educators.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.282-288
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• 2016

This project aims to provide information on organizations and characteristics of Korean designer fashion industry in order to improve employment environment in fashion designer brands. This study utilizes the questionnaires and interviews with designers or human resources managers in Korean designer brands for forms, size and way of employment. The result shows that firstly, the size of employment in fashion designer brands is almost operated by small-scale human resources. Secondly, It is researched that they recruit less than 10 temporary employees per a brand on average as a problem. Thirdly, there are differences in business according to forms of employment. As researched, permanent employees usually conduct in design, products plan and production management, but, temporary employees conduct as a business assistant and salespeople. Fourthly, it is revealed that average salaries for permanents in fashion designer brands are between 1,510,000 and 2,000,000 won as the most people said. Moreover, the average salaries for temporaries are similar with permanents' as between 1,170,000 and 1,500,000 won. In fifth, in terms of the ways for recruitment, the proportion of job seekers who find a job by nonscheduled admission and special employment is larger than other ways. Finally, as a result of a research on an employment contract, employees have written the employment contract with the brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.6
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• pp.779-794
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• 2019

This study examines the effects of brand belief of a mass offline retailer on the perceived value, attitude, and purchase intention toward the products of emerging fashion designer brands in the context of marketing collaborations between emerging fashion designer brands and a mass offline retailer. We invited 198 adults aged 20 to 59 to an online survey who were asked to read a news article and respond to a questionnaire. The results of structural equation modeling show that brand belief of a mass offline retailer positively influences the perceived value of the products of emerging fashion designer brands. The perceived value also positively influences the attitude toward the products that subsequently enhances purchase intention. The findings suggest that emerging fashion designer brands should strategically select a mass offline retailer as their collaboration partner by considering consumer perceptions of the retailer brand because the brand belief of the retailer may have a halo effect on a consumer evaluation of the products of emerging fashion designer brands.

• Journal of Fashion Business
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• v.15 no.2
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• pp.71-85
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• 2011

The study examines the current state of designer shoe brands, which are gaining a great deal of popularity in the footwear market, and offer bold designs that cannot be found in typical ready-made shoes. Women in their 20's and 30's who are sensitive to fashion are classified into sub-groups based on fashion leadership, and comparative analyses conducted among the sub-groups on selection criteria of designer shoe brands, intention of purchase and satisfaction according to fashion leadership. To this end, a questionnaire survey was conducted of women residing in Seoul and the Capital Area, and 371 questionnaires were used for final data analyses. As a result of the study, the following conclusions were reached. For satisfaction with the purchase of designer shoe brands according to fashion leadership among sub-groups, it was found that the satisfaction with the purchase of designer shoe brands is higher among fashion laggards than among fashion leaders, dual fashion leaders and fashion followers. Dual fashion leaders and fashion leaders showed the highest purchase satisfaction in terms of color, size, material and durability.

• Journal of Information Technology Services
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• v.22 no.3
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• pp.119-139
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• 2023

Generation MZ has emerged as a significant consumer segment and trendsetter in the fashion market of South Korea. Fashion designer brands have become popular among this generation by offering a range of fashion content on social network services (SNS) based on fresh and trendy designs. Despite the growing market share of fashion designer brands in the industry, previous research has mainly focused on brand personality in line with the characteristics of traditional fashion brands. Therefore, this study aims to derive brand personality and SNS characteristics of fashion designer brands based on previous research and investigate the influence of these factors on brand preference and behavioral intention. Moreover, it examines how this influencing mechanism fluctuates based on the consumer type (i.e., innovative type vs. price-sensitive type). Based on an online survey of 256 Korean adults with experience in fashion designer brands, this study identified the influencing mechanisms on purchase intention and word-of-mouth intention. This study contributes to empirical investigations of consumer brand preference and behavior intention in fashion designer brands through the brand equity model. It also offers insight into developing a segmented brand strategy by considering the variations in the influence mechanism of behavioral intention across different consumer types.

• Journal of Fashion Business
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• v.10 no.3
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• pp.87-99
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• 2006

For comprehending the duties of fashion designer, Sharon(1989) has suggested to look at the procedure how the goods are being produced. The purpose of this research is to identify the task of domestic fashion designer by comparing and analyzing one's work range and performing level in the fashion merchandising process according to the brand types which one is involved in. The preliminary research for the questionnaire was conducted with 5 chief designers of woman's apparel manufactures in Seoul. They were asked to judge if designer's tasks fit to their carry-out operations in the pre-fixed questionnaire which had been done based on preliminary researches and literatures related with fashion merchandising process. The contents of research questionnaire are 11 questions to understand the general characteristics of companies and the participated subjects, and 42 questions to understand the designers' operations. For the selection of NB, among 503 domestic female apparel brands that were in 'Korean Textile Fashion yearbook (2002-2003), the companies that were located in Seoul and possible for cooperation by researcher's personal relationship were selected. For DB, cooperation was requested for brands that were located in Seoul among the 137 brands that participates on Domestic Collection. For GB, 50 stores were selected at random or by personal relationship among 32 GB shops such as Freya Town, Doosan Tower, New Zone, and so on. Total 300 questionnaire distributed to the designers, 192 copies were used for final data analysis. For data analysis, descriptive statistics and ANOVA, Sceffe test were used using SPSS V. 11 1. The participated fashion designers operated 41 categories of suggested 42 categories in the fashion merchandising process. 2. The ranges and contents of tasks in the fashion merchandising process that fashion designers mainly carry-out are very different according to the brand types and showed much different level of task carry-out. Only in the categories of 'fashion trend information' and 'design ideation', all three brand type showed the highest level of task performance. And the design related tasks presented common higher level of performance than the other tasks in all brand types. In order to comprehend the operation of fashion designer, various approaching methods are required according to various apparel manufactures' characteristics.

• Journal of Fashion Business
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• v.20 no.5
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• pp.1-15
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• 2016

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie's Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion's social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.