• Journal of Fashion Business
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• v.27 no.2
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• pp.70-87
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• 2023

Today, VR, AR, and MR technologies that travel between real world and virtual world are rapidly developing. These technologies are adopted in luxury fashion brands for virtual fashion shows and runways, virtual retail shops and virtual fitting services. Despite its growth potential and social importance, virtual fashion space has been studies insufficiently. Therefore, this study aimed to examine the consumer experience on the virtual fashion space types, components of virtual fashion space, perceived value, and continuous usage intention. Prada, one of the most active luxury fashion brands in the VR field, was selected as the stimulus for an in-depth interview. Participants experienced virtual fashion show space through VR device (Oculus Quest 2 from Meta) before responding to the questions about their experience. Results showed that material space was more like virtual whereas perceptual space felt like reality. Participants could imagine about more virtual image from material space and more real image from perceptual space elements. Moreover, perceptual space enhanced the immersion, presence, and interactivity compared to material space. Most participants perceived that the virtual fashion show was useful and playful, leading to the continuous usage intention. It implies that improvements for some technical limitation from VR device and virtual contents can provide quality consumer experience in the future. Based on results of this study, fashion companies can establish useful marketing strategies for consumers' immersive and playful experiences when introducing virtual fashion space.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.3 s.39
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• pp.251-262
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• 1991

The roles of fashion merchandisers (merchandise managers) in women's apparel industry and their perceptions of the job requirements as a fashion merchandiser were investigated to understand present fashion merchandising activities in the industry and suggest desirable roles of fashion merchandiser for further development of the industry. The research questionnaires were administered to fashion merchandisers working in the ten national brand women's apparel firms. The results of the study were as follows . 1. Annual sales volumes of most surveyed firms were more than five billions won and eight out of ten surveyed firms have fashion merchandisers in their firms. 2. Fashion merchandisers worked at a specific brand merchandising division sales and operations division or merchandise planning division. A fashion merchandiser generally supervised one brand. 3. Fashion merchandiser's work experience ranged from four to fifteen years showing a great deal of experience in the apparel industry. Their majors at university were mostly business and few majored in clothing and textiles, or textiles. 4. In general, the role of fashion merchandiser was a management specialist who was responsible for identifying target markets analyzing fashion trends, planning of the merchandise development budget planning, manufacturing planning, selling, advertising and sales promotion and distributing the merchandise. At some firms fashion merchandi-sers were not responsible for advertising, display, and receiving the orders. 5. Surveyed fashion merchandisers perceived the desirable fashion merchandiser's role as a management specialist conducting overall business activities in the areas of merchandise planning, manufacturing, selling and distribution. They also mentioned the following personal characteristics such as vision leadership, and persuasion as desirable characteri-stics for those who aspire to a career in fashion merchandising. 6. Surveyed fashion merchandisers emphasized relevant and realistic experiences in fashion merchandising education. Several ways were suggested to help the educator keep in touch with business and bring reality to students. They are . field work, bringing professionals into the classroom to speak to the students, emphasizing clothing and textiles education including merchandising area, and establishing a Department of Fashion Merchandising.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.138-150
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• 2013

The purpose of this study was to investigate research trends of subject matter in clothing construction field in clothing and textiles and to suggest the information for the future directions for fashion business and research. 2737 articles with clothing and textiles subject matter, 350 articles with clothing construction field in the Journal of Korean Society of Costume and Journal of the Korean Society of Clothing and Textiles from 2001 through 2010 were analyzed. The major conclusions of the study are as follows: 1. Clothing construction field took 12.8% with 350 articles in the researches of the Journal Publications in 2000s. 2. Clothing construction field showed more proportions in the latter half of the decade. 3. Clothing construction field were classified into 5 topics : topic of basic pattern and pattern for apparel, topic of body types, topic of functionality of clothing and protective clothing, topic of size system of apparel, topic of sewing and manufacturing process. 4. In clothing construction field, topic of basic pattern and pattern for apparel took the most proportions. 5. Topic of body types, topic of functionality of clothing and protective clothing, topic of size system of apparel, topic of sewing and manufacturing process were followed.

• Journal of Fashion Business
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• v.24 no.6
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• pp.46-62
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• 2020

This study analyzed contextual expression types in modern fashion show space derived from the architecture based on Pepper's Contextualism. Pepper's Contextualism theory was applied to fashion showcases of the world's four largest collections from 2010 to 2020 by analyzing contextual expression in architecture, resulting in six contextual expression types. The first type was natural environmental contextual expression in which a modern fashion was fused with the natural environment using the natural environment's context. The second type was a temporal contextual expression expressed by blending the theme of a fashion show and an artificial environment that could express past, present, and future issues. The third type was a spatial contextual expression that extended in a flat or three-dimensional direction. This expression could connect with customers in the field. The fourth type was an associative contextual expression that could formally present the theme of a fashion show or a designer's inspiration by borrowing a specific place. The fifth type was an ideological contextual expression that could express a designer's concept or value through a fashion show's design. The sixth type was a contextual communication expression that could allow viewers to immerse themselves in the space of a fashion show venue mentally through a morphological or virtual technique and experience a fashion show.

• Journal of the Korean Society of Costume
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• v.66 no.7
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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.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.65-77
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• 2003

Due to the rapid changes occurring in many aspects of contemporary society, the need for a means to actively combat widespread feelings of emptiness and alienation among the public, while satisfying its visual pleasure, is increasing. Thus the need for humorous elements which bring freedom to the human psyche is urgently requested. Of course, the field of fashion cannot be left out in this trend, and humor image design is a good example of this. Humor image in fashion endeavors to release the tension accumulated in the modern world, while trying to find a way to recover the original pureness of mankind. Another aspect currently important is computers. The creation of images in modern visual art relies a lot upon computers. Traditional visual processes such as painting, photography and video are now merged within digital technology. and are now quite symbiotic to each other. With the development of computers came computer art. which uses all applicable functions of a computer to create art. Any artistic action which uses a computer in any stage of its creation can be called computer art. The common factor in humor and computer art in modern fashion can be classified as follows : repetition, deformation and distortion. exaggeration and abridgement. juxtaposition. and Tromp l'oeil. This study has placed its objective on the fusion of humor image fashion and computer art, by manufacturing a work with humor and computers, two important aspects of modern culture. Expanding the field of fashion design while promoting creativity In fashion by finding a verging point between art and science is also necessary. I have designed and made five costumes using the above cited techniques in computer humor images, on a theoretical basis.

• Journal of Fashion Business
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• v.17 no.1
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• pp.131-144
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• 2013

The purpose of this study was to analyse the structure and contents of clothing construction field in the middle-school textbook of technology and home economics with curriculum revised in 2007. 10 kinds of textbooks certified by Ministry of Education, Science and Technology in 2010 were selected and home economics field in them was the subject of this study with the external characteristics such as textbook system, instruction area and contents included. This study was content analysis-oriented and descriptive with data calculated by frequency and percentage. The findings are as follows. In 'Reality of Home-Life', food life area showed highest as 34.4% followed by clothing life(28.7%) and dwelling life(28.7%). The portion of present teachers in writing staffs was highest while there was no textbook where professors of each field were included in writing staffs. The contents of costume society, clothes material, clothes management from section 'Choice and Management of Clothes' in the chapter 'Family Life' and clothing construction from the section 'Making and Modifying Clothes' of the chapter 'Reality of Home-Life' were analysed in this study. Clothing construction-related fields were suggested separately by method of measurement, construction theory, drafting theory, drafting an original form, fabric trimming, utilization of the original form, length measure, cloth cutting, hand stitching, how to use a sewing machine, basting and correction, needlework process, completion, and evaluation. The contents of the unit 'Making Shorts' were about clothing construction theory, human body measurement, drafting an original form, process of making shorts and activity/research/experience. The contents of the unit 'Wearing Clothes after Fixing' in clothing construction-related field were about how to fix and recycling.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.191-200
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• 2014

Employees overseas have a need to prepare according to the different environments and industrial structures between countries. Therefore, to investigate qualities for fashion designers to possess when they work abroad, especially in the United States, this study compared the level of knowledge required to fulfill the work of fashion design in both South Korea and the United States. Responses from workers who are engaged to fashion design from the representative online career information systems of two countries, 'Worknet' in South Korea and '$O^*Net$' in the United States, were used as data. Looking at the result derived from the analysis of this study, first by comparing various statistical indicators, results showed the difference between knowledge level required to fashion designer in South Korea and in the United States. Even with the same type of job, because environments and industrial structures of each country are dissimilar, a different level of knowledge will be required in order to perform their tasks. Second, fashion designers in both South Korea and the United States required a high level of knowledge in the 'fine arts', 'administration and management', 'production and processing', and 'design' to perform their duties as a fashion designer. As a result, both countries have similarities that fashion designers need to possess a high level of the knowledge in areas such as 'production of products' as well as 'sales of products'. Furthermore, human relationship field of knowledge such as 'counseling', 'psychology', and 'communication' appeared to be more necessary to fashion designers in South Korea than those in the United States. On the other hand, higher degree of knowledge of 'machines and tools', ' fine arts', and 'transportation' appeared to be more necessary to fashion designers in the United States than those in South Korea.

• Journal of Fashion Business
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• v.27 no.4
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• pp.115-124
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• 2023

This study reviewed hanbok terms emerging in academic research and media fields to conceptualize hanbok terms. Terms of hanbok were collected through RISS and Bigkinds by field. Results of textming using Textom were as follows. First, a total of 17 hanbok terms appeared in the field of academic research and a total of 41 hanbok terms appeared in the field of media, showing a difference. Fourteen terms, including hanbok, traditional hanbok, traditional clothing, daily hanbok, modernized hanbok, fashion hanbok, fusion hanbok, Shinhanbok, ready-made hanbok, luxury hanbok, women's hanbok, and children's hanbok, were hanbok terms that appeared in both academic and media fields. Second, the appearance of hanbok terms was examined based on five terms: traditional hanbok, daily hanbok, modernized hanbok, fusion hanbok, and Shinhanbok, which differed in the appearance of hanbok terms between academic research and media. Traditional hanbok and daily hanbok terms steadily appeared in both academic research and media, with modernized hanbok and fusion hanbok appearing mainly in the media and Shinhanbok in the academic research fields. Results of this studys confirmed that there were differences in terms of hanbok used between academic research and media fields.

• Journal of the Korean Home Economics Association
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• v.47 no.2
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• pp.111-123
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• 2009

This study is to explore the usability of a pattern making software 'Looks tailor X' developed recently by the Digital Fashion in line with the cloth simulation software 'DressingSim'. When the software engineers develop software for clothes and clothing simulations, most often they lose touch of real-world craftsmanship of pattern making. As such, the software evaluation of the functionality and the usability is a crucial step in the field of virtual clothing. We carried out a detailed evaluation of the software via the process of making some basic types of pattern including tight skirts, pants, jackets, and one-piece dress. In this paper, we documented a step-by-step scenarios of making clothes using the Looks tailor X, and listed both the advantages and limitations of the software from the perspective of an enduser, i.e., a professional fashion designer. We also briefed suggestions on the refinement of the future software in the field.