• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.117-136
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• 2020

The purpose of this study is to analyze changes in high-tech fashion along with the types and characteristics of high-tech fashion that have appeared recently providing diverse material for the fashion field. High-tech fashion requires such research to learn how much distance one has in one's life. It is also meaningful to predict what direction high-tech fashion research may be needed. For research methods, previous research and literary studies were considered and photographs in which high-tech techniques were used were collected using the keyword 'high-tech fashion'. High-tech fashion types can be organized into the four types of luminescent types, mutual interaction types, 3D printing fashion, and virtual fashion. The research results were as follows. First, luminescent fashion was an important expression method of high-tech fashion. Materials for luminescent fashion first started with LED electric wire connections and many methods have been attempted with the appearance of electrically conductive clothing material, such as luminescent lasers and beam projectors. Second, interactive high-tech fashion often appears as variable fashion. The work of Hussein Chalayan, which was combined with advanced technology, set up a base for variable type interactive high-tech fashion in the 2000s. As bioengineering technology has developed, fashion that interacts with the environment without an energy source has appeared and the interaction among fashion, people, and the environment can be seen. Third, diverse forms of expressiveness in virtual reality such as 3D CLO shows a great difference with past high-tech fashion. Simple and diverse attempts made through virtual fittings reduce the limitations of time and space, permit interaction, and add a sense of reality through speed and dynamic physical beauty. Fourth, 3D printed fashion expresses complex and detailed clothing material that is different from those before with the development of computer 3D modeling technology. Modeling that can imitate geometric and bio-engineered structures is possible and mysterious feelings are passed on to people through creative expressions.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.27-38
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• 2008

In the 21st century, the development of technology overturned the paradigm of the entire society and culture, and the term 'high-tech' became generally accepted around the world by the momentous advances of technology. The purpose of this study is to define the concept of high-tech fashion by clarifying the characteristics of high-tech fashion, and to propose the proper approach toward the coming fashion. Hussein Chalayan shows the experimental and futuristic designs based on the cultural context of architecture and sculpture. Moreover, the scope of this study has been limited into Hussein Chalayan's recent works after the year 2000 up to 2007. High-tech architecture has been, in some ways, a response to pow technology a new aesthetic in contrast with standard modern architecture. High-tech architecture aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology. However, no matter how prominent the industrial look appeared, the functional element of modern architecture has been very much retained. The characteristics of high-tech architecture that had been extracted by analyzing the antecedent studies were: technocism, transformability, and dynamism. Furthermore, the characteristics of high-tech fashion has been explained based on the characteristics of high-tech architecture. First, technocism is expressed either by the new technologized materials, and advanced digital technology. Second, transformability is expressed in the transformable clothing, which performs various functions. Third, dynamism is displayed in dynamic forms influenced by the technology of engineering. High-tech will be the dominant influence in fashion, and the designers will be enamored with the technologies of the new millenium. Architecture and fashion share the characteristics of high-tech, and their common cultural features is confirmed again.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.72-85
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• 2008

With the new millennium setting in, our society is plowing its way through more drastically changing currents than ever. Nowadays, many people believe that high tech such as the Internet, digital civilization, the IT revolution, bio-industry, and the genome project, that has brought humans material prosperity, is the right change in direction. However, the more we adopt high tech into our lives, the more we desire high touch in order to achieve a balance. In other words, we need something to act as a ballast to stabilize our minds. As such, the more high tech develops, the more individuals miss and search for tools that appeal to their emotions. Because of this, although high touch is an opposite concept to high tech, it coexists with high tech, and it is defined as "human contact of high sensitivity that stimulates the emotion of humans". High Touch, a term which originated from "High Tech, High Touch", a book written by American futurist John Naisbitt, refers to human contact that makes human life richer, forminga deep impression on individuals and providing comfort. As such, high touch, which is gaining significant attention in modern society, is a phenomenon occurring throughout politics, society, culture, art, and religion, together with high tech. Through high touch, modern people must realize how to understand and accept a modern society that is dominated by the age of technology and in which direction they should head. Under this background, this study has the following objectives: to interpret the concept of high touch in the age of high tech in association with formative art and fashion, and through various media examine the desire for expression that may stimulate emotion in modern people, which is required by the high tech-prevalent modern society. It further analyzes how high touch is reflected in modern fashion and presents the direction future fashion should head in.

• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.426-435
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• 2008

The purpose of this study is to consider the changes of the early twentieth century fashion in pursuit of mechanical beauty. As for the research methodology, literature survey has been undertaken. The results of this study are as following. In early twentieth century, fashion concept on the expression of mechanical beauty was considered as abstractness, atypicality, and high-tech. The abstractness of fashion was expressed by geometrical purity, box silhouette, moderate color, and cheap materials in association with mechanical reasonability and efficiency. The atypicality of fashion was connected progressive taste motivated by mechanical dynamic effect. This tendency of dress was constructed technically in response with the movement of body and totally transgressed conventional notions of clothing. The high-tech of fashion was presented by geometrical forms and metal materials in relation with the future-oriented utopia and the harmony between human and machine.

• Proceedings of the Technology Innovation Conference
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• 1997.07a
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• pp.224-243
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• 1997

The study examines the similarities of competitive strategy between fashion industry and high-tech industry through a case study of a Japanese maker. From the study, some implications are drawn for the Korean fashion industry. It is hoped that this, will help towards establishing a suitable competitive strategy for firms in this industry. In the fashion industry, the product life cycle is so short as to prompt a new product obsolete too quickly, and the extent of product differentiation is remarkably extensive compared to any other industry. Generally speaking, firms in this industry focus more of their resources on product development and marketing rattler than on production and they attempt to maneuver the speed when they are required to enhance their competitive edge. This is enabled through being, as one might expect, information- and technology- intensive as are high-tech industries. In this sense, that of the competitive strategy of a firm in fashion industry to be similar to high-tech industry. The Japanese firm Y has transformed itself a leading firm in fashion uniform segment. The firm could achieve this status by integrating each function needed for creating customer*s value, that is, product development, production and marketing within one Quick Response System. For this purpose, Y introduced a bundle of high-tech communication systems such as SPD, SDS, ATOM, NICS and so on. In this sense it can be said that Y was aware of what sort of competitive strategy was required in the industry. Implications for Korean firms is that, first, the magnitude of understanding the industry specific factors in establishing competitive strategy in the fashion industry, are speed, flexibility and systematic integration supported by high technology which are characteristic of high-tech industries. Secondly, as can be seen in the fact that Y emphasized logistics in its technological transformation, the significance of logistics control is a key to manipulating speed and flexibility in the industry. To sum up, those who have insight into above findings will be likely to keep their competitiveness in the industry not only in the Korean market but also in global market in the near future.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2009.03a
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• pp.219-220
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• 2009

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.47-59
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• 2008

The recent trend of Sports Wear is seeking functionality and fashion at the same time, where the spread of sportism becomes caual style leading street fashion. Sports Wear is classified into active Sports Wear and Sports casual Wear, in which active Sports Wear is expanded to a mixture with Sports casual wear. The purpose of this study is to research the trend of materials used in active Sports Wear and Sports casual wear. Materials used for jacket/jumper, pants and t-shirts of active Sports Wear and Sports casual wear, and high-tech functional materials used for active Sports Wear have been analyzed. The results of the study are the following: a) Most of the materials used for Sports Wear are polyester, nylon, cotton, and a mixture of cotton and polyester. Active Sports Wear uses functional materials and texture such as Dri-Fit, which absorbs and dries fast, whereas Sports casual wear satin, cire and denim has been used to keep up with the trend rather than focusing in functionality: b) companies such as Nike and Adidas have used many high-tech materials to emphasize the functionality of Sports Wear, while Puma stresses on fashion rather than function, however uses spandex in order for the consumer to feel comfortable during physical activities; c) active Sports Wear in jacket/jumper, pants and t-shirts uses functional material and texture, however Sports casual wear uses satin and cire to keep up with the fashion trend rather than functionality; d) and Nike uses high-tech funtional materials for its Sports Wear in therma-fit, Clima-fit, Dri-fit and storm-fit, whereas Adidas uses Clirna-lite, Clirna-proof, Clima-warm, and Clirna-cool in their active Sports Wear.

• Journal of Fashion Business
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• v.26 no.6
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• pp.116-132
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• 2022

Fashion marketing activity performed by social media influencers (SMIs) has grown exponentially in the past years. Research regarding their marketing power is often discussed in the context of sponsorship disclosure, in order to overcome obstacles of impending regulations that may endanger the authenticity SMIs are perceived to have compared to traditional marketing agents. Upon recent heterogeneous findings, a netnographic approach was taken to examine the actual sponsored posts of SMIs on Instagram. Based on two representative cases that received media coverage, a qualitative analysis of 1,058 comments on Instagram showed customer inspiration and informational social influence regardless of sponsorship disclosures present. Regarding customer inspiration, high frequency of comments including choice imitation intentions was observed. Under certain conditions, customer responses were focused on the SMI's expertise irrespective from the brand being endorsed. Findings show future implications from both an academic and industry-focused perspective for future potential of SMIs in fashion marketing.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.2
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• pp.135-150
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• 2023

The purpose of this study is to understand the formative characteristics of futuristic virtual fashion revealed in virtual fashion platforms targeting the human body. First, the current status of fashion in the metaverse and futurist fashion were reviewed and summarized by referring to prior research. Next, among the items posted on DRESSX, "futurism" was searched and those resturning a positive result were collected as research subjects. The characteristics were organized into design elements: colors, shapes, materials, and patterns. Futuristic aesthetic characteristics were derived from the characteristics of each design element. As a result, color showed the characteristics of achromatic, vivid and neon colors, multi-color and gradation, multi-color due to reflected light, and color conversion. As for the form, a body-concious look or exaggerated silhouettes, spatial expressions in geometric structures, forms imitating living things, and fluid silhouettes using clouds were prominent. Materials showed the digitization of universal clothing materials, application of industrial materials, use of metal materials, and unrealistic materials. In the patterns, geometric abstract patterns, patterns that reveal the digital world view, and moving fluid patterns appeared. The aesthetic characteristics of futurism in virtual fashion were revealed in four categories: visual dynamics, high-tech sensibility, variability, kineticisim. Visual dynamics were revealed in geometric forms, and intense neon colors. High-tech sensibility was prominent in the use of metal and industrial materials, light emission, and patterns of the digital world view. The expression of multiple colors by reflected light and the change showed the variability of futurism. The use of unrealistic materials, such as clouds and fire and fluid silhouettes expressed kineticisim. The infinite expressiveness of virtual fashion made it possible to actively express the aesthetic characteristics of futurism.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.844-851
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• 2021

Due to the increase in consumers' interest about well-being, interest in eco-friendly products has been increasing due to the harmful effects of various harmful substances contained in textile products and environmental issues. As a result, natural dyes of less potential risk than synthetic dyes and digital textile printing(DTP) textile products with less environmental pollution are drawing attention. However, due to the lack of evaluation criteria for DTP textile products with natural ink and the nature of many colors are stacked layer by layer for dying, the need for simultaneous analysis is emerging. To evaluate whether the natural dye is derived from natural ingredients, the biocarbon content is analyzed. However, in the case of ink made using natural dyes and DTP textile products using natural ink, it is difficult to analyze the biocarbon content due to the limitation of the presence of a small amount of dye contained therein. In this study, we were shown the possibility of natural derived verification by cross-checking the analytes of natural dyes (Persicaria tinctoria, an indigo dye; Dactylopius coccus, a light red; and Curcum longa L., i.e., turmeric) and natural ink with HPLC-MS/MS. The coefficient of determination was 0.999 or higher, the limit of quantification was 0.647-3.664 ㎍/L and a %RSD of each indicator material was less than 10. Then, the extraction amount of natural dyes for five patterned fabrics was analyzed.