• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.396-402
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• 2022

Since the 21st century, the internet has been an essential existence due to the 4th industrial revolution and the development of IT technology, but the focus of the existing development direction has changed a lot over the past three years. COVID-19, also known as a pandemic, first occurred in 2020 escalating rapidly and cutting off society existing as an off-line form in every country. As non-face-to-face life continues, everyday technologies using online such as hybrid work have promptly developed, and an online virtual world called Metaverse excelled and became a phenomenal topic. In this study, theoretical considerations and the current status of the metaverse, which are being highlighted as global trend keywords, are examined, and the utility of the metaverse in the fashion industry was studied. Based on this study, it is expected that the work is recognized and brings helpful intuitions as a way to revitalize the shrinking fashion industry by using the metaverse, which is still in its infancy.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.55-67
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• 2011

The purpose of this study is exploring the expressional characteristics of organic fashion design different from the past by analyzing the expressional characteristics of organic fashion design dependent on the digital paradigm and simultaneously suggesting the theoretical data required to understand the changing trend of organic design in relation to the paradigm of the age. The results of the research is as follows; The expressional characteristics of organic fashion design according to the digital age appeared to have same aspects. Pluralism respecting multi-culture, hybrid of multi-meaning image, circulation that can consistently circulated, non-hierarchical post-structure, de-boundary through dissolution of genres, digital nomad considering mobility, human centered through significant sensitivity, de-materialization of assimilation between reality and non-reality, conceptualization given the concept of designer, technology combining with digital technology. This study found that organic fashion design in the digital age has the same conceptual context as periodical paradigm freely circulating consistently by organically combining each individual. This can be understood as the trend of design implied in conceptual context that organic fashion design requires periodical paradigm.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.866-876
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• 2011

We find ourselves living in a post-human era when technology and images coexist with humans. A cyborg, a combination of an organic body and a machine could be called a human fused with a machine. It could be understood as a new species where humans and machines have combined rather than simple protoplasm or an organic body. The purpose of this study is to demonstrate that a concept of a body in post humanism era is finding expression in fashion illustration through cyborg images. The concepts of post humanism and cyborg are analysed by means of research into literature and characteristics in which cyborg images as post humans are expressed through art, and images of a cyborg body in fashion illustration and their meanings are explored with the foregoing as a framework of reference. Cyborg image reflects new images and concept of a human in post humanism. The cyborg body images in fashion illustration are expressed through the addition of mechanical images, digital virtual body, monster image by means of hybrid combination, distorted physical transformation and fragmented body and body absence. And cyborg image in fashion illustration shows the extension of body concepts through the technology and uncertain and ambiguous identity.

• Journal of Fashion Business
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• v.8 no.5
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• pp.144-154
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• 2004

The purpose of this study is to consider the characteristics of character's body-image throughout the on-line games and with this study we researched the symbolic meaning reflected by the character's body-images throughout the fashion. The characteristics of the body-images presented in modern fashion is expressed in 4 features on Lineage II game. First, it adopts the ways in which modern fashion expresses the erotic image and represents various sexual stimulation, which can not be represented in the real world, in cyberspace. Second, it expresses the beauty and taste in sensitivity by exchanging the items, which are the features of body-image, each other as the neutral body-image and pursuits for the double side feature between males and females by dismantling the point of view to sex. Third, it shows the new value system different from the existing one by using extraordinary items and materials that you've never seen in real fashion as the abnormal body-image expressed in informal and inaccurate principal of deformation. Fourth, it show the body with the items which induces more interest and curiosity than the real world do as the humorous body-image accompanying with childish amusement and pleasure.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.475-480
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• 2023

As the digital fashion show developed through the pandemic period, this study analyzed the literature on the digital fashion show and presented basic data for the design of the metaverse fashion show space. Through keyword analysis, the flow of research was identified, and implications for space design for the metabus fashion show were derived through analysis of space, models and avatars, lighting, and communication. Through keyword analysis, it was possible to understand the conversion process of digital fashion show research in the pandemic situation. Metaverse fashion shows can express stages, avatars, and costumes that are impossible in the real world, but require design considering expressiveness. In the metaverse space, communication can be thought of as a designer's value delivery, digital marketing, and communication with customers.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.1045-1061
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• 2016

This study clarifies differences in attitudes toward the Omni-Channel service (Pintech service, Beacon service, and Click and Collect service) and fashion consumption behavior among four clusters grouped by level of technology readiness. An online survey was conducted; 572 individuals between 20 and 30 years of age were collected, but only 539 were used. Factor analysis, cluster analysis, descriptive statistics, ANOVA, and frequency analysis were adopted to analyze data using SPSS 20.0. The results are as follows. Technology readiness was divided into four factors: optimism, innovativeness, discomfort, and insecurity. Participants were divided into four groups according to four sub-factors of technology readiness: brave adopters, optimistic laggards, indifferent adopters, and critical adopters. These groups showed significant differences in attitudes toward the Omni-Channel service and fashion consumption behavior. Critical adopters and brave adopters recognized the value of the Omni-Channel service and had more positive attitudes toward it than other groups. Critical adopters also better perceived the risk of service with new technology that showed higher fashion innovativeness and monthly consumption of fashion products than other groups. We inferred that the indifferent adopters did not use the Omni-Channel service or services offered by fashion retailers as much as other groups because indifferent adopters were less interested in both the Omni-Channel service and fashion consumption behavior than other groups. Optimistic laggards viewed the Omni-Channel service optimistically, despite perceptions of high risks to accompanying it and a low intent to use it. The results of this study assisted in the formation of a theoretical framework of consumer behavior associated with the Omni-Channel, which is an emerging issue in research related to distribution. The results can help fashion industries that operate consumer-oriented marketing based on Omni-Channel strategies.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.652-668
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• 2020

The purpose of this study was to analyze trends in sustainable fashion research and to guide its the development by examining previous research projects conducted by the UK Centre for Sustainable Fashion. A literature review and case studies were conducted from which the following results were identified. It was shown that the CSF has cooperated with fashion, arts and technology businesses and other external organizations. The CSF has contributed to improving the economic durability of the fashion industry, the convergence of both local and the international fashion communities, and the development of cultural sustainability. Moreover, it incorporates various academic fields into its research and has developed advanced researching methods for sustainable fashion. The CSF has embraced the new perspectives by utilizing student ideas for the development of sustainable fashion. The conclusions of this study are as follows. First, the CSF studied the sustainability of fashion from a more organic perspective through multidisciplinary research. Second, it has expanded the possibility of sustainable fashion research through research formats, research fields and research operations. Finally, it has evoked values and responsibilities that the fashion industry should pursue in modern society and has become an exemplary case of sustainable fashion research, providing creative studies for sustainable fashion research in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.1
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• pp.125-137
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• 2019

This study determined the impact of 'Fashion Augmented Reality (FAR)' acceptance factors based on the model of acceptance and use of technology (UTAUT) on consumer attitudes, intention to use technology, and fashion product purchase intention. A survey asked participants to have an AR experience using a FAR app to understand FAR in advance. Data were analyzed factor analysis and stepwise regression using SPSS. The results are as follows. First, the factor analysis classified the acceptance variables of FAR technology into 'social relations', 'shopping effectiveness', and 'easy to use FAR'. Second, among the three factors of FAR acceptance, 'shopping effectiveness' is statistically more influential on positive attitudes towards FAR. However, 'easy to use' factor was more influential on 'the intention to use technology' as well as 'purchase intention'. Third, 'social relations' were identified as an important factor affecting 'consumer attitudes', 'intention to use technology' and 'purchase intention' which are not well covered in fashion technology research. In addition, 'the intention to use technology' was found to be influential on 'purchase intention' and indicated the importance of easiness of FAR to enhance purchase intention.

• Journal of Fashion Business
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• v.26 no.4
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• pp.64-82
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• 2022

This study aimed to explore fashion technologies for small-scale designer brands and reveal the priorities of the derived fashion technologies. Interviews were conducted with owners of 15 designer brands to explore fashion technologies needed in the field based on the business operation stage (study 1), and an online survey of owners of 61 designer brands was conducted to verify their priorities (study 2). A total of 12 fashion technologies were derived from study 1, including 2 market analysis stages, 6 season planning stages, and 4 product operation stages. In study 2, importance and satisfaction were measured with 12 fashion techniques derived from study 1, and importance-performance analysis (IPA) was performed. The technologies of product management with image tagging and sales channel matching were considered to be the fashion technologies that should be developed first. Second, in the case of maintenance, demand prediction and price determination were applicable. Third, over-effort avoidance was revealed through market analysis and design generation. Finally, in automatic product detail page creation and digital marketing, development was the lowest priority. The results of this study are expected to provide insight into priority areas for fashion technology developers and policy departments providing emerging brand support.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.