• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.63-65
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• 2004

현대의 라이프 스타일에 웰빙(well-being)적인 측면이 강조되면서 요가가 선풍적인 인기를 끌고, 운동을 즐기는 사람들이 늘어나면서 스포츠룩은 현대 패션 트랜드의 중요한 부분을 차지하고 있다. 몇 년 전 뉴요커들의 패션 아이콘 중의 하나가 스니커즈였던 때가 있었다. 정장팬츠에 운동화를 신은 모습은 국내에서도 패션 리더들을 중심으로 빠르게 유행되었다. 그 후 몇 년이 지난 지금 스니커즈 패션은 물론, 운동복으로만 생각했던 트레이닝복들이 거리를 메우고 있다. (중략)

• Korea Trade Review
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• v.42 no.1
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• pp.189-215
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• 2017

This study analyzes the determinants of the choice of foreign direct investment mode by Korean fashion firms in entering into foreign markets. We have established hypotheses regarding their choice among three classical entry modes including a wholly-owned subsidiary, a joint venture and an M&A based on factors such as the investing firm's size, international experience and international strategy type, host market potentials, cultural distance and foreign investment risk. By conducting multiple logistic regression over secondary data on 100 Korean fashion firms, we found that all variables but cultural distance were statistically significant. The results may contribute to advancing international business theory on the fashion industry and developing fashion firms' global strategy.

• 베이커리
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• no.9 s.338
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• pp.122-129
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• 1996

일본 베이커리는 지하철역을 중심으로 발달하는 특징이 있다. 이번 베이커리 가이드는 아오야마를 대표하는 안델센, 동큐, 기노구니야 등 3개의 점포를 찾았다. 그리고 가로수가 길게 늘어선 오모떼산도를 따라 하라주꾸까지 최근 유행하고 있는 오픈카페를 소개한다.

• Vending industry
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• v.10 no.2 s.31
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• pp.18-19
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• 2011

유행과 낭만의 거리 강남 가로수길. 이곳에 가면 국내 유명 브랜드 패션매장들이 즐비하다. 그중 동양그룹 Mag Mag 매장 1층 입구에 깜짝 놀랄만한 자판기 하나가 설치되어 있다. 패션 양말을 파는 자판기이다. 블랙 톤의 세련된 자판기 디자인에 판매상품 디스플레이도 획기적이다. 패션양말들이 빨래 줄에 걸린 디스플레이를 보는 순간 '기발하다'는 생각이 절로 든다. '자판기로 양말을 팔아가지고 수익이 될까?' 놀랍게도 이런 의구심을 한방에 날렸다. 이 재미있고 독특한 자판기 앞으로 사람들이 몰려들고 있는 것. 운영 3주 만에 아이디어 자판기로서 성공시대를 예감케 한다. 이 자판기를 과연 누가 운영할까? 놀랍게도 27살의 여성이다. 아이해이트몬데이(i hate Monday)사(社)의 홍정미 사장. 얼마전까지 자판기의 '자'짜도몰랐다 한다. 이런 그녀가 양말자판기를 런칭해 많은 화제와 인기를 모으고 있다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.12
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• pp.5165-5176
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• 2010

This study is an attempt to seek ways to revitalize the main streets in local city with regard to urban regeneration. It focuses on the case of Myeong-dong Fashion Street located in front of Cheonan Station, which recently lost its vitality. In order to explore causes of the decline and solutions for restore, this paper investigate the concerned urban area by approaching through three different aspects: physical and environmental aspects, social and economic aspects, historic and cultural aspects. In addition, the street visitors were surveyed on their visiting patterns, priorities and discontents about the components of street, and preferences for its restoring, etc. The investigation resulted in following findings and proposals. In physical and environmental dimension, it is needed to create legal incentives for encouraging local residents to develop their own district, and suggested to plan green space for relaxation and cultural arts space by using existing buildings, along with the expansion of public parking. In regard of social economic aspects, it is proposed to give each street specialized commercial theme. At the historic and cultural level, it is suggested to plan the pedestrian network which links the Fashion Street with surrounding historic elements.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.83-100
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• 2009

In the 'Society of the Spectacle', Guy Debord argued that modern life was dominated by the commodity form and the false desires it engendered. He predicted in 1967 that culture would become the driving force in the development of the economy by the end of the century, He was sure when culture becomes nothing more than a commodity, it must also become the star commodity of the spectacular society. Fashion, the starriest of star commodities with its seductive fantasy approaches to the viewers occluding the commercial reality. From this point, the spectacular property of the modern fashion can be found. This study starts on the notion that the modern fashion is on the center of capitalist consumer culture and is constructed by spectacle. On this premise, the purpose of this study is analysing the attribute of 'spectacle' and 'keeping distance ￡Tom spectacle' in modern fashion expressed in fashion show, fashion media and fashion store. The fashion houses in the 1990s that recognised the commercial value of shock and spectacle were eager to employ young spectacularly visible named designers. They generated the publicity necessary for sales of perfume, cosmetics, bags and diffusion range of clothes through the visible fashion show and fashion media. In the fashion show and fashion media, fashion goods as the commodity both flaunts and disguises its commercial nature in spectacle. The spectacle on the fashion store is the process turning the commodity into image to arouse viewer's higher interest. In the fashion store, the appearance of the commodity such as space, display, package is considered more importantly than its 'utility value'. Meanwhile, the study also covered the innovative trial to evade the ubiquitous 'spectacle' in fashion area.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.246-253
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• 2009

Technology and fashion are not as distant from each other as it might first seem. Early wearables were functional but awkward to wear and to look at. Today wearables are rapidly rising to meet the fashion world on its own terms by producing garments that are both stylish and comfortable. Personalization of wearables allows for new modes of self-expression, which is an essential factor in making fashion items that appeal to the public. Embedded technologies in the garment and the functionalities integrated into the electronic textiles influence the ‘wearability', comfort and the aesthetic of a fashionable wearable. Considering these factors is an essential part of the design process when creating user-centered fashionable wearables. Designers have to have a comprehensive understanding of the purpose, the user, the interaction, and in commercial applications, the right price point. An appealing design in combination with an intuitive interface will make for a successful fashionable wearable.

• Proceedings of the Korea Institute of Convergence Signal Processing
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• 2001.06a
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• pp.193-196
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• 2001

본 논문에서는 3D 패션 코디를 위해 의복의 3D 모델을 개인 캐릭터에 정합하는 방법을 제안한다. 정합 방법은 의복 모델의 변형, 인체와 의복의 역전 부위 검색, 의복 모델의 수정의 3단계로 나누어진다. 먼저, 인체와 의복이 부위별로 대응을 이루도록 각각에 특징점을 설정하고, 의복의 공극을 고려하여 의복 모델의 높이, 넓이, 두께를 부위별로 변형한다. 의복 3D모델의 정합 후에도, 부위에 따라 의복의 표면 위에 인체가 노출되는 역전현상이 일어난다. 이를 위해, z-버퍼를 개량한 거리-버퍼의 개념을 제안하여 역전을 효과적으로 검색한다(Collision Detection ). 검색된 부위에서 삼각형을 분할하여 의복 모델을 수정한다.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.327-341
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• 2018

This study analyzed the influence of social distance and visual information on consumers' fashion style preferences in terms of information characteristics and providers. Data were collected from 521 females in their twenties and thirties who had experience using SNS. The empirical study results were as follows. First, with other factors of exposure under control, the social distance of information characteristics and providers showed a significant impact on fashion style preferences only when social distances were close. Second, the impact of social distance varied depending on the consumer's characteristics. This proved that innovation had significant negative influences, while conformity and informational sensitivity to others showed positive influences on the effects of social distance in terms of information characteristics. Innovation and fashion leadership also showed a negative influence on the social distance effect in terms of information providers. Third, conformity, informational sensitivity to others, and fashion leadership, proved to have a significant impact on the acceptance of eWOM in fashion styles, but innovativeness and normative sensitivity to others did not have a significant influence. This study can be used as baseline data in SNS marketing strategies for vitalizing information spread through eWOM.