• 한국의류산업학회지
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• 제23권3호
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• pp.380-389
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• 2021

This study aimed to reveal the perceptions and trends of digital fashion technology through an informational approach. A big data analysis was conducted after collecting the text shown in a web environment from April 2019 to April 2021. Key words were derived through text mining analysis and network analysis, and the structure of perception of digital fashion technology was identified. Using textoms, we collected 8144 texts after data refinement, conducted a frequency of emergence and central component analysis, and visualized the results with word cloud and N-gram. The frequency of appearance also generated matrices with the top 70 words, and a structural equivalent analysis was performed. The results were presented with network visualizations and dendrograms. Fashion, digital, and technology were the most frequently mentioned topics, and the frequencies of platform, digital transformation, and start-ups were also high. Through clustering, four clusters of marketing were formed using fashion, digital technology, startups, and augmented reality/virtual reality technology. Future research on startups and smart factories with technologies based on stable platforms is needed. The results of this study contribute to increasing the fashion industry's knowledge on digital fashion technology and can be used as a foundational study for the development of research on related topics.

• 한국의류산업학회지
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• 제20권3호
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• pp.245-256
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• 2018

This study considers application types and meanings of fashion engineering by analyzing CuteCircuit. The conclusions of this study are as follows. The application type of fashion engineering shown in CuteCircuit is first, electronic fashion, which attaches LED or WL on the surface of clothes to express the decorative function in clothes as optical light change, ultimately performing one-dimensional function. Second, interactive fashion is a medium in which clothing connects human beings with other human beings with sensors that can recognize the changes in tactile or movement with the wearer or with a light source that can visualize the emotional changes of the wearer. Third, scientific fashion has emerged as a new type of fashion in which new materials introduced in the field of engineering are fused with clothing to expand functionality and aesthetics. The meanings of fashion engineering in CuteCircuit is first, trying to conceptualize a new beauty as an open fashion that can freely change with the creation of a dual beauty by combining analog and digital sensibility. Second is the external representation of human psychological change or emotional exchange, which helps to form a consensus by understanding and exchanging emotions of different people. Third, reorganization of apparel pursuing integrated value appeared. Clothing, as a connection body in which the human body and the mechanical environment are combined with each other, is reestablished as a product of variable body that can embody an integrated value that includes various characteristics and can be diversified appropriately in any circumstance.

• 복식문화연구
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• 제16권1호
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• pp.88-99
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• 2008

This study aims to analyze product samples of convergence of fashion and technology, as convergence is a major trend in the age of digital paradigm, and to propose desirable directions of development for technology convergence in fashion design in the future. With bibliographic research as well as internet search of the cases of development and commercialization of convergence of fashion and technology from the 1960s, when wearable computers were first introduced as an early development form of convergence, to the present, it becomes possible to classify these cases into three groups: functionally oriented one, aesthetically oriented one, and one that combines function and aesthetics. The pros and cons of each group of these cases are discussed and an evolutionary trend is observed from the earlier stage of convergence with functionally oriented cases which tried to achieve specific purposes of the time to the later stage of convergence with emphasis on both function and aesthetics which reflects the sensitivity of the general wearers. When three groups are plotted in the positioning map with one axis of function-aesthetics and the other of industry-fashion designer, however, all three are located outside of the two axes, suggesting these elements are not very well combined. In order for the products of the fashion-technology convergence in the future to receive favorable response from the consumers, it is necessary for the fashion industry to develop a close collaboration with companies of digital technology and the convergence products not only will have to provide functional benefits of the new technology but also to satisfy the aesthetic demands of the wearers.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 대한가정학회지
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• 제50권7호
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• pp.67-79
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• 2012

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer's own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.

• 복식문화연구
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• 제19권3호
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• pp.473-487
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• 2011

The purpose of this study is to analyze the body type and fashion of posthuman in SF movies. The method of this study was to analyze documentaries, internet web site, fashion books and so forth. The results were as follows: The body types of posthuman were expressed as mutation type, prosthetic type, clone type by biological hybrid or renovation and digital type by computer simulation. The mutation type was expressed as reinforcement of masculinity or feminity and reinforcement of body functions. The fashion item was expressed as a black tailored suit, leather jacket, cat suit, whip, black sunglass, garter belt, high heel shoes, short pants, black one piece dress and functional body suit. The prosthetic type was expressed as reinforcement of body functions and reinforcement of masculinity or feminity. The fashion item was expressed as a military item, high-tech power suit and ergonomic armor suit. The clone type was expressed as the plural ego with reinforcement of body functions. The fashion item was expressed as a power shoulder jacket, fake fur coat, vinyl, black see-through look and functional suit. The digital type was expressed as reinforcement of masculinity or feminity and the plural ego with reinforcement of body functions. The fashion item was expressed as a data suit, leather jacket, black over coat, boots, black sun glass, ethnic items and military items. The meanings of posthuman fashion in SF movies were impurity of posthuman, display of superhuman's power by sexuality, metaphor of power and fantasy of superhero in opposition futuristic dystopia. As mentioned above, posthuman body type and fashion in SF movies become the conversational topic in the real world. The fact that we think about utopia and identity of posthuman in the future is of great significance.

• 복식
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• 제58권1호
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• pp.151-160
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• 2008

`Early adopters,` a term first used by Everett Rogers in 1957, refers to people who are among the first to try a new product and like to evaluate the product for others. Early adopters in the digital age of the 21st century, greatly influence others by exchanging information on products and writing product reviews on Internet boards. Technological products have recently been released in the fashion world to become important fashion items, and early adopters are active buyers of these products. The purpose of this study is to examine the values and characteristics of early adopters as consumers of technological fashion products, and present a standard for designing fashion products in the future. This study was based on documentary research, Internet research and in-depth interviews. Documentary research was carried out to examine the lifestyles, characteristics and consumption habits of early adopters. Internet research was done to understand the tendencies of Korean early adopters, and a total of 18 websites were studied in 7 product categories. The subjects of in-depth interviews were 6 people who were either webmasters or members of early adopter-related websites. IT field early adopters tended to pursue new technologies, and fashion early adopters placed importance on how well a person could express their own style. New, unique, useful and pretty were the key words to describe the tendencies of early adopters, and fashion early adopters preferred the latest contemporary styles. Interviewees placed most importance on price, design and function of products. Since IT related products are continuously being added on to clothes and becoming fashion products themselves, further research on technology-related fashion design would be significant.

• 복식문화연구
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• 제23권6호
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• pp.1097-1115
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• 2015

ICT in the IOT era is the core basis of modern society. This study investigated and analyzed the recent commercialization trends of smart fashion products internationally and domestically, to utilize them as the basis of data for developing user-friendly smart fashion products that can meet the needs of consumers. Keyword research using the most representative search engines, Google and Naver was conducted for searching for various wearable items commercialized actively since 2010. The final 78 products were classified by the physical area, and the key features and benefits were analyzed. Smart fashion products were classified as four physical types for the head and face, torso, arms and hands, and ankles and feet. Smart fashion products for each body part were developed in various ways, such as hats, glasses, lenses, virtual screens, earphones, headsets, clothing, watches, wrist bands, gloves, rings, wallets, bags, anklets, shoes, socks, and insoles. The main features were music playback, bluetooth, a camera based on NFC, virtual effects, health and safety protection through measuring heartbeat and momentum, and social network sharing of all kinds of information, based on inter-working with a smartphone. These functions represent the physical, social, and emotional interactions among users and their surroundings, as well as the users, themselves. The research results are expected to be used in future studies on planning user-friendly and marketable products through in-depth analysis of the design characteristics of smart fashion products as well as consumer responses.

• 한국의류학회지
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• 제35권9호
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 한국의류학회지
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• 제47권5호
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• pp.891-906
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• 2023

The essence of fashion brands' marketing with metaverse-based virtual spaces is to capture more potential consumers and boost the sales of companies' virtual and physical products. However, existing research has not fully addressed customer responses and behavioral outcomes regarding fashion virtual brand spaces. This study uses flow theory to address this gap and explores the factors that lead to the flow experience in virtual brand spaces. It also establishes the causal relationships between the flow experience, satisfaction with virtual spaces, the intention to purchase virtual products, and the intention to purchase actual products. We chose "Ralph Lauren World" of Ralph Lauren on Zepeto as the virtual brand space for this study and analyzed 239 valid data sets. We tested the hypotheses using structural equation modeling and bootstrapping for the mediation analyses. The findings indicate that the flow experience in virtual brand spaces positively and indirectly affects the purchase intention of virtual products via satisfaction with virtual brand spaces. In addition, virtual space satisfaction had an indirect, positive effect on actual product purchase intention through virtual product purchase intention. The research emphasizes that the purchase intention of virtual and actual products has a positive causal relationship.