• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.5
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• pp.927-943
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• 2022

This study explores the organic form generation method, which reflects the evolving biomimetic approaches converging in fashion technology and considers the characteristics of the organic relationship between the body and the clothing to be represented in contemporary fashion. A literature review on biomimetic architecture and design-related theory and a case study on biomimetic fashion were both conducted. Images, articles, and data related to biomimicry fashion and clothing, including the increase in virtual fashion cases around 2020, were analyzed based on the literature review. Biomimicry was used to derive interdisciplinary similarities in the organic morphogenesis principle, and the result was categorized as a network system, folds and unfolds, pneumatic structures, auxetic growth, and membranes. The biomimetic fashion characteristics, including externalization of the body's interior, expansion of the body structure and silhouette, body protection, independence from the body, and post-human expression through virtualization, were analyzed. Morphogenetic processes performed through biomimetic vision are expected to aid in generating research on the possibility of mass production or popularization in the future through various experimental technical studies.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.793-809
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• 2013

This study examined the trend and aesthetic value of image fashion of the 21st century through empirical case study with image media as fashion communication tool. This research is intended to provide the basic material for both better comprehension of image fashion as emotional medium in the modern fashion and more activated research on interactivity and communication in the fashion communication area by examining how fashion designers deliver their design philosophy, thought and vision via image fashion. For the research method, the theoretical study was realized about image media and fashion communication with focus on related literature and precedent research. Also, the empirical study was performed about image fashion covering 2005 through 2012 by the group of fashion film, fashion animation, and video look-book. Fashion image in the research was developed into various layouts that include the story based or non-story based creative images, many kinds of episode or behind-the-scenes story in the prep course of collection, designer's personal life or product world, or re-cutting course after collection. It also played a communicative role for public relation of new product ad, concept conveyance of seasonal collections, means as online collection to substitute for the existing offline collections, and better understandings of designer or fashion brand. Aesthetic values derived from case analysis of image fashion in the modern fashion of 21st century appeared in the form of trans-boundary as convergence art, fantasy in harmony with virtuality and reality, and interactivity among the humans, image media and fashions.

• 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.

• Fashion & Textile Research Journal
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• v.17 no.5
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• pp.704-717
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• 2015

In modern fashion fabrics became an important element that leads the current of fashion beyond materials. Also, it has a creative role that reflects emotional and visual aspects, and it is considered as a mega trend that will lead the $21^{st}$ century fashion industry. The value of fashion products is affected not only by the style and design but also the sensuous properties like color, pattern, texture, and drape of fabrics. Therefore, in this study, characteristics of fabric trend between 2007 S/S and 2010 S/S will be analyzed focused on Premiere Vision, which influenced many Korean fashion trend information companies, while looking into the fabric trends shown in the world's top four collections-Paris, Milan, London, and New York-and Seoul collection, and comparing and analyzing the acceptance level of those. Fashion fabric is an important part in fashion design and change with social environment and value, its considered that the role and importance of subject matters increases in changing fashion design toward globalization by meeting various personality which is diversified more and more. It is to provide specific and practical data to be used for the Korean fashion industry, which can be used as useful information for future fabric researchers and people in the fashion industry for integrated study of fashion design and fashion fabric.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.165-181
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• 2022

The fashion industry is creating innovative business models using artificial intelligence. To efficiently utilize artificial intelligence (AI), fashion data must be classified. Until now, such data have been classified focusing only on the objective properties of fashion products. Their subjective attributes, such as fashion brand sensibilities, are holistic and heuristic intuitions created by a combination of design elements. This study aims to improve the performance of collaborative filtering in the fashion industry by extracting fashion brand sensibility using computer vision technology. The image data set of fashion brand sensibility consists of high-end fashion brand photos that share sensibilities and communicate well in fashion. About 26,000 fashion photos of 11 high-end fashion brand sensibility labels have been collected from the 16FW to 21SS runway and 50 years of US Vogue magazines beginning from 1971. We use EfficientNet-B1 to establish the main architecture and fine-tune the network with ImageNet-ILSVRC. After training fashion brand sensibilities through deep learning, the proposed model achieved an F-1 score of 74% on accuracy tests. Furthermore, as a result of comparing AI machine and human experts, the proposed model is expected to be expanded to mass fashion brands.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.27-41
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• 2009

Interpreting the phenomenon of Fast fashion that is prevalent these days, this research is meaningful in that it prepares the frame which suggests the vision to read the trend of 2000s and analyzes the property of phenomenon of Fast Fashion in the connection with society and culture. The so[io-cultural property can be largely characterized by consumption orientation, change orientation, efficiency, moment and multiculturism. Analyzing the phenomenon of fast fashion that emerged after 2000 on the basis of such sociocultural background, it is largely classified into imitation, fashionability, disposability, portability, transformation and convergence. Due to the hi-polarization of consumption, people tend to select imitated goods, and people accustomed to speed get interested in the fashionability of all Phenomena. Further, society that is transient and changing rapidly makes the habit of purchasing in disposability. The property of nomad society encourages to keep the habit of portability. Such change-oriented society and rapidly changing life pattern make them adapt in diverse transformation modes of Fast Fashion. Further, multi-cultural world integrates enterprises through combination of all cultures and the convergence of all factors.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.62-75
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• 2015

The purpose of this study is to examine how fine art is received in fashion, and to contribute to the development of a creative fashion culture. In order to do this examination, this study focuses on the formative ideas of De Stijl which appeared in the early 20th century. In addition, this study presents examples of today's fashion that still reflects the formative ideas of De Stijl. The De stijl movement did not last for a long time, but it has had significant influence on modern art, and has been a source of inspiration to fashion designers since the Mondrian look was presented by Yves Saint Laurent in 1965. The study on the basis of De Stijl such as Neo-Plasticism of Piet Mondrian and Elementalism of Theo van Doesburg, has been conducted in this study. As a result, this study presents formative characteristics of the De Stijl group in fashion as follows: First, contemporary fashion designers have searched for proportion and thickness of lines and the side split using lines, a stylistic trait of an artist in the De Stijl group. Second, color scheme defined by the De Stijl group has been applied with modification to contemporary fashion. Modification and selective choice of the limited colors are for a contemporaneous style. Third, formative ideas of De Stijl, which strives to achieve the vision of Utopia, has turned up in contemporary fashion as a simple and minimal silhouette. Contemporary fashion has enhanced their aesthetic value by deriving not only a superficial expression but also plastic principle and philosophy from De stijl. It can be regarded as the fashion's ideal way to embrace style of art and it might be so described as a key to edifying artistic and creative attributes of fashion.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.203-216
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• 1998

In the study, conceiving that signifying processes like model, setting, advertisement and description are important to promote the purchase of clothes that would satisfy consumer's desire by their expressing mode, I considered the processes of components of which fashion ads consist. As for the methods to study, I regarded the results presented from prior researches of clothing & textiles and other disciplines for the components of fashion ads and objectified their image that may be interpreted subjectively: and then, I adopted to analyse them using advertisement-semiological method to make clear the signifying processes. The results are as follow: 1. Fashion ad, one of visual symbols to transfer brand image, conveys the image with which various components are combined like model, clothes, setting and description as signs. ① the image of clothes amy be differently expressed according to social, cultural norm and individual characteristics, in the case of clothes, therefore, the signified can be regarded as the transferred image by design of the clothes① sign, and the abstract conception which may be rise to mind by the image in a ceratin culture. ② Each signifier such as countenance, line of vision, attitude and hairstyle of a model conveys different image, or the signified, respectively, and it amy operate as a sign that can express the brand image symbolically. ③ The signifiers like background, color and property symbolize the advertised merchandise of clothes and define it attribute.. 2. In the case of fashion ads, key referent systems are fashion phenomena, contemporary role image, social psychology, common morality, and social, economical and milieu.

• International Journal of Human Ecology
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• v.10 no.1
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• pp.1-11
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• 2009

The effect of learning orientation on company innovation and innovation capability are explored based on survey data collected from 154 small and medium-sized manufacturing firms. The theoretical links between learning orientation and company innovation as well as innovation capability are investigated in four research models that compare textile and non-textile manufacturing firms. Learning orientation has a significant effect on company innovation and innovation capability in the model test. However, some of the three segmented factors (commitment to learning, shared vision, and open-mindedness) of learning orientation had no significant effect on company innovation and innovation capability. Company innovation and innovation capability of textile manufacturing firms are predicted by the commitment to learning and shared vision, whereas those of non-textile firms were determined by shared vision and open-mindedness. Differences show that firms may need to put weight on some distinctive aspects of learning orientation according to the business categories in order to enhance company innovation.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.597-603
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• 2022

With the continuation of the pandemic environment, digital transformation is being applied in various fields of the fashion industry. Augmented reality technology is a form of overlapping virtual images on the real world, and as online shopping expands in non-face-to-face environments, the use of augmented reality technology in fashion and beauty fields is affecting consumer satisfaction and sales growth. In this study, the characteristics of augmented reality contents used in the fashion industry following digital transformation were extended to the fields of clothing, accessories, virtual fashion stores, and AR fashion shows to analyze the case characteristics of augmented reality. Augmented reality technology in the fashion industry focuses on promoting clothing and accessory products through SNS or homepage through marketing activities. It is raising positive values such as raising awareness. The range of types of augmented reality used in the future digital fashion environment will continue to expand, and by deriving the usage characteristics of augmented reality technology, it is intended to contribute to presenting a future vision of the fashion industry.