• Journal of Fashion Business
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• v.23 no.5
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• pp.96-110
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• 2019

With the continuous development of artificial intelligence using computers in the Fourth Industrial Age, the virtual space created by virtual reality experiences boosted by the power of artificial intelligence, provides a new experience for us. The purpose of this study is to explore the new aesthetics that the fashion industry provides to users in virtual space created by virtual reality technology. This research method is based on theoretical research on virtual reality technology and virtual space and constructs a research model applied to this research. The scope of this study is the application of virtual reality technology to fashion shows, fashion exhibitions, and fashion design apps on the website of professional virtual reality technology and fashion for the last five years from 2014 to 2019, which actively merged virtual reality technology with modern fashion. We will analyze the cases one by one. The results of this study are as follows. First, this study shows that the constructed virtual space of modern fashion using virtual reality technology creates three kinds of physical space, perceptual space, and imaginary space based on the commutative theory of virtual space formed by Swedish scholar J. $Widestr{\ddot{o}}m$. Second, virtual reality technology applied to fashion shows, fashion exhibitions, and fashion design apps is characterized by four aesthetic characteristics of presence, perceptual expansion, interactivity, and immersion in physical space, perception space, and imagination space.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.215-231
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• 2024

The changing media landscape has diversified how and what is discussed about fashion. This study aims to examine expert discussions about fashion shows on social media from the perspective of fashion criticism. To achieve this goal objectively, a text mining program, Leximancer, was used. In total, 58 videos were collected from the panel discussion section of Showstudio from S/S 21 to S/S 24, and the results of text mining on 24,080 collected texts after refinement are detailed here. First, the researchers examined the frequency of keywords by season. This revealed that in 2021-2022, digital transformation, diversity, and fashion films are now commonly used to promote fashion collections, often replacing traditional catwalk shows. From 2023, sustainability and virtuality appeared more frequently, and fashion brands focused on storytelling to communicate seasonal concepts. In S/S 2024, the rise of luxury brand keywords and an increased focus on consumption has been evident. This suggests that it is influenced by social and cultural phenomena. Second, the overall keywords were analyzed and categorized into five concepts: formal descriptions and explanations of the collection's outfits, sociocultural evaluations of fashion shows and designers, assessments of the commerciality and sustainability of the current fashion industry, interpretations of fashion presentations, and discussions of the role of fashion shows in the future. The significance of this study lies in its identification of the specificity of contemporary fashion criticism and its objective approach to critical research.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.5
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• pp.588-599
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• 2003

The convenience of TV home shopping is known to provoke compulsive buying, which is chronic and repetitive purchasing behavior that comes about as a response to negative events or feelings. The purpose of this study was to identify whether there is a difference in the degree of compulsive buying between the purchasers of fashion goods and the purchasers of non-fashion goods on TV home shopping shows and the determinants of compulsive buying and their relative importance. Utilizing the convenient sampling method, the sample of the study was composed of women aged over 20 living in the Seoul metropolitan area. Out of 380 distributed questionnaires, 270 useful questionnaires were returned. The data were analyzed using t-test, Pearson correlation, and multiple regression. The results indicated that TV home shoppers who purchased fashion goods showed higher degree of compulsive buying than those who purchased non-fashion goods and the determinants of compulsive buying are sample＇s age, mean age of the sample＇s children, credit usage, expenditure on fashion goods, frequency of purchase of fashion goods on TV home shopping shows, and promotional tools used by TV home shopping retailers. Regarding the relative importance of the determinants, credit usage was the most influential factor followed by expenditure on fashion goods and the length of exposure to TV home shopping shows.

• Journal of Fashion Business
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• v.4 no.3
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• pp.79-90
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• 2000

On the beginning of 21C, in which it is a facing problem that the expansive image of future in fashion should be proposed from the comprehensive analysis for the fashion trend. Therefore, in this study, the trends of capricious fashion are distinctly quantified by investigating the cue of fashion in each styles. Also, the systematic evaluation is carried out of analyzing photographs to which the four important fashion styles. In particular, this study takes the practical and numerical results through quantitative analysis by statistical treatment as well as through qualitative analysis that has been formerly used in the other studies. The purposes of this study are to examine fashion trends expressed in important styles in the 1990s, and to formulate productive fashion of the future. In the qualitative analysis, the four important fashions of neo-mods/jazz, neo-hippie/grunge, sportive-casual and techos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s A/W. It takes frequency, percentage, $x^2$-test and etc, by using the comprehensive tools for statistical treatment. There were significant differences between the A/W fashion. According to the cues, there are also significant differences between the fashion in the 1990s. The results of this study are summarized as follows: (1) In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. (2) 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special make-up. (3) 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. (4) 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.31-40
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• 2014

The purpose of the study was to examine model postures at fashion shows with respect to expressing fashion images including elegance and neutral-gender images. Data were gathered from the fashion shows held 2000 S/S through 2009 F/W, when elegance and neutral-gender fashion images were obvious in fashion collections. Three designer brands representing elegance and neutral-gender fashion images were selected by the researcher and fashion specialists including graduate students majoring in fashion. The fashion collection photos representing each image were selected from style.com, a website which contains four world's biggest fashion collections. The results showed different hand positions as a model posture according to fashion images. In the neutral-gender image, 16 photos (47%) showed a hand position at pockets, in the elegance image, 24 photos (82.3%) showed a hand position laying down by the sides. Also, walking pose was shown to be different between two fashion images. In the neutral-gender fashion image, 16 photos (52.9%) revealed a pose of 'natural walk', while 29 photos (100%) showed a pose of 'walk in a straight line' in the elegance imaged fashion. In conclusion, the neutral-gender image photos showed the pocket-positioned hand and the 'natural walk' poses more than elegance image photos, and elegance image photos revealed the hand position laying down by the sides and the 'walk in a straight line' poses than the photos of the neutral-gender image.

• Journal of Fashion Business
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• v.6 no.2
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of Fashion Business
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• v.23 no.3
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• pp.85-100
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• 2019

This study examines changes in consumer perceptions of fashion shows, which are critical elements in the apparel industry and a means to represent a brand's image and originality. For this purpose, big data in clothing marketing, text mining, semantic network analysis techniques were applied. This study aims to verify the effectiveness and significance of fashion shows in an effort to give directions for their future utilization. The study was conducted in two major stages. First, data collection with the key word, "fashion shows," was conducted across websites, including Naver and Daum between 2015 and 2018. The data collection period was divided into the first- and second-half periods. Next, Textom 3.0 was utilized for data refinement, text mining, and word clouding. The Ucinet 6.0 and NetDraw, were used for semantic network analysis, degree centrality, CONCOR analysis and also visualization. The level of interest in "models" was found to be the highest among the perception factors related to fashion shows in both periods. In the first-half period, the consumer interests focused on detailed visual stimulants such as model and clothing while in the second-half period, perceptions changed as the value of designers and brands were increasingly recognized over time. The findings of this study can be utilized as a tool to evaluate fashion shows, the apparel industry sectors, and the marketing methods. Additionally, it can also be used as a theoretical framework for big data analysis and as a basis of strategies and research in industrial developments.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.87-97
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• 2000

The purposes of this study are to classify the male consumers in new generation by evaluating the fashion mania elements and to examine the differences among consumer groups in product attributes, benefits, dressing for self and others, and sensation seeking tendency. Fashion mania elements are compose of purchase frequency, the storage of clothes, the affection toward clothes and fashion knowledge. Data were obtained from 492 adult male living in Seoul and Kyunggi Do. Statistics used for data analysis were frequency, means, one-way Anova, Duncan's multiple range test, factor analysis, cluster analysis using Spss 9.0. The results can be summarized as follows: There consumer groups are identified based on the fashion mania elements: fashion mania, fashion interests, non-fashion mania. The fashion mania group has positive fashion behavior and high fashion attitude, the fashion interests group has high fashion attitude and light fashion behavior, non fashion mania group has light fashion attitude and behavior. Fashion mania group regard intrinsic attributes very highly in order to express individuality, shows the tendency to dress for self strongly rather than to dress for others. And fashion mania group shows a high sensation seeking tendency compared with the remaining groups.

• Journal of Fashion Business
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• v.25 no.3
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• pp.36-50
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• 2021

In the COVID-19 era, globally, companies in the fashion industry are pursuing new convergence methods through digital technology. Conventional fashion shows have become difficult to run exclusively, instead, the shows are run through a combination of offline and digital arrangements. This paper examines the trends of seven digital fashion show weeks in London, Paris, Milan, New York, Seoul, Shanghai, and Tokyo, and presents strategies applicable in Korea's Seoul Digital Fashion Week. We focused on the digital technology used in the digital fashion weeks fashion brands, and the characteristics of the host cities. The study conducted a literature review and case study through corporate and research report data, and the Fashion Week website. Based on the study results, changes in fashion industry calendars like 'See now, Buy now', seasonless, and unified collections for men and women, expansion of D2C system, the rise of short-form contents, and the expansion to the virtual world space and physical limitations can be cited as changed trends. The study provides insight into the incorporation of the Korean Wave and K-Pop singers, industrial structure change, and the establishment of B2B system in the Seoul digital fashion week. The shift to the digital runway is not only an alternative method to cope with the COVID-19 era but also a new "new normal". Fashion shows are no longer fixed and planned in free spaces. As a venue displaying the creator's personality, digital fashion week is expected advance in the future.