• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.272-281
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• 2016

From the year 2000 on, Seoul has aimed to be a fashion city, and thus has been supporting young designers through Seoul Fashion Creative Studio, Generation Next, Le Dome, Concept Korea, etc. London is famous for nurturing young designers through the joint help of government, schools and industries: Alexander McQueen, Christopher Kane and Peter Pilotto are successful cases. Therefore, this research aims to suggest a direction for policies aimed at helping young designers in the international market, on the basis of London's nurturing programs and ideas from a literature review and case studies. The results are below. Firstly, a step-by-step supporting program is recommended. Secondly, long-lasting, sustainable programs are considered essential to support designers after the end of their contracts. Thirdly, practical assistance is preferred to monetary funding in order to lighten the designers' lot and in the interests of transparency. The mentoring service should be strengthened for the designers to eventually become independent. The support should be tailor-made according to items. Fourthly, the supporting programs should be promoted. Fifthly, government and industries should collaborate. Sixthly, 'de minimis' against overlapped support should be legislated. For these, the change of supporting method can be helpful; an independent administrative organisation plans and collects funds from governments and companies. Through these programs and any subsequent studies, Seoul could become a fashion city where young designers play active roles at a global level.

• Journal of the Korea Convergence Society
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• v.12 no.2
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• pp.163-171
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• 2021

The purpose of this study is to examine the current operation condition of fashion start-up companies and the characteristics of their founders in Fashion Creative Studio that is one of government programs supporting fashion start-up of rising fashion designer's brands in Korea and one of supporting facilities. For this purpose, this study surveyed 32 fashion start-up companies founders in Busan Fashion Creative Studio and analyzed the data based on the survey. The results are as follows. First of all, 82% of the founders have experience to start their business in 20s and 60% of founders with not more than 3 to 5 years of work experience related to fashion challenge to start a business. Secondly, major distribution channels of the fashion start-up companies are mainly on-line open-market consisting of 36% and SNS is up to 80% as the main promotion method. In addition, exports to China account for 71% of all exports. Lastly, 33% of businesses consider viral marketing by influencer and 50% of them make plan to export their items to East Asia. It is of research significance that this study can suggest the successful direction of establishing and operating fashion start-up companies through making good use of Fashion Creative Studio, the supporting program including facility.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.265-281
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• 2018

Government policy supporting the fashion industry in Korea has focused on the future development of rising fashion designer's brands, and as a part of this support, several Fashion Creative Studios are presently operated. The purpose of this study is to identify the meaning of these facilities and suggest development strategies for their effective utilization. This paper presents a conceptual understanding based on a literature review, and deduces the direction of Fashion Creative Studios through an exploratory analysis of various case studies and in-depth interviews with five designers, who have graduated from the Seoul Fashion Creative Studio. The results are as follows. Firstly, fashion educational institutions have to provide sufficient information about the Fashion Creative Studios to students. They can also consider adding short-term residencies to the curriculum in which students prepare collections or portfolios for the studios. Secondly, Fashion Creative Studios are required to intensify business and marketing programs to increase real-world support. It would be helpful to provide 1:1 management programs with several segmented stages for the design brands, or connect them to investors who could provide financial support and business expansion. Thirdly, Fashion Creative Studios need to find a way to strengthen textile differentiation and craft characteristics to increase designer brand competitiveness. Broadening participation with textile designers, connecting with experts and ateliers, and promoting collaboration with artists and artisans in the Arts Creative Studios can be further examined to this end.