• Journal of Fashion Business
• /
• v.17 no.6
• /
• pp.88-97
• /
• 2013

'Smart Clothes', which incorporate topnotch digital technology into fashion, are a leading fashion runner in this digital era. The purpose of the study is to first help develop a practical design for outdoor backpacks which are equipped with eco-friendly solar cells that facilitate recharging diverse smart devices during outdoor activities; and, secondly, to offer some practical data from the actual appropriation tests that will be used for manufacturing such products. This trial study finds out how to conjoin some practical IT devices with fashion items and mainly focusses on designing outdoor backpacks which are loaded with solar cells for recharging electric devices, and, later, experiments on designed backpacks with some smart phones to see how it works. According to the desired purposes of backpacks, all the features can be adjusted and modified such as the kinds of solar cell panels, materials, sizes, positions of attachment, weights, etc. Smart Clothes are highly functional and fashionable items that satisfy both practical and emotional purposes, and are being actively developed to serve consumers. This study proves that Smart Clothes or Smart Wear will have practical uses for outdoor activities and will possibly lead our smart lifestyles.

• Journal of Fashion Business
• /
• v.21 no.2
• /
• pp.1-15
• /
• 2017

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today's fashion can be explained as follows: First, 'virtual reality', which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, 'form transformability', which is often found in fashion products, promotes customers' purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, 'integration of different fields', which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, 'interactive responsiveness', which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.

• Journal of Fashion Business
• /
• v.12 no.5
• /
• pp.39-53
• /
• 2008

Today is a 'high concept' era in which consumers make sensible consumption that shares a sensible bond with a brand. Therefore, it is important to analyze consumers' aesthetic awareness; namely, fashion feeling in the fashion industry. This study conducted research into a fashion design planning process according to a fashion feeling focusing on computer graphics suited to the 21st century digital trend. First, the study classified a fashion feeling with eight senses including elegance, classic, modern, mannish, sporty, avant-garde, ethnic, and romantic feelings. Second, the study made an image map, color map, material map, and style map with Adobe Photoshop CS3 by dividing a fashion planning process with a computer graphics program. Also, the study made a flat illustration with Adobe Illustrator CS3. Third, the study proposed the image map, color map, material map, style map, fashion illustration and flat illustration in the design planning process under the theme of the aforementioned eight fashion feelings.

• Fashion & Textile Research Journal
• /
• v.21 no.4
• /
• pp.379-389
• /
• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of Fashion Business
• /
• v.27 no.1
• /
• pp.1-15
• /
• 2023

This study divided articles into two time periods, from 2012 to 2022, with the aim of using big data analysis to look at patterns in the ecosystem of fashion start-ups. The research method extracted top keywords based on TF(Term Frequency) and TF-IDF(Term Frequency-Inverse Document Frequency), analyzed the network, and derived centrality values. As a result of comparing the first and second fashion startup ecosystems, elements of policy, support, market, finance, and human capital were derived in the first period. In addition, in the second period, elements of policy, support, market, finance, and culture were derived. In the first period, the fashion startup ecosystem focused on fostering new designer startups by emphasizing support, finance, and human capital factors and focusing on policies. Meanwhile, in the second period, online-based fashion platform startups and fashion tech startups appeared with the support of digital transformation and fulfillment services triggered by COVID-19(Corona Virus Disease 19), private finances were emphasized, and cultural factors were derived along with success stories of fashion startups. This study is meaningful in that it helps in developing strategies for fashion startups to grow into sustainable companies.

• Fashion & Textile Research Journal
• /
• v.4 no.1
• /
• pp.56-63
• /
• 2002

This study was designed to investigate the new concept about lifestyle of female consumer in the present time of digital revolution and to analyze the preferences and sensibilities according to the types of consumer lifestyle classified into the same group. Survey was done through questionnaire of 79 questions and the data of 151 female consumers in the age of 19-34 were analyzed statistically using SPSS. The 6 factors were extracted from 39 lifestyle questions: consumerism, seeking challenge, communal life, quality of life, digital orientation and active counter plan. 6 Lifestyle clusters of female consumers were as following: the no-concern satisfied, the digital passive, the consumer personal, the digital active, the consumer communal and the adventurous. 30.5% of female consumer was the digital lifestyle who are relatively older and highly educated, of high income and expense rate, and resident in Gangnam. The preferred sensations by female consumer were 5; reasonal, feminine, conspicuous, active, and modest, and the clusters according to the sensations were 5: the casual, the status-symbolism, the rich in contents, the romantist, and the elegance. Lifestyle and preferred sensations were so related that the no-concern satisfied were the status-symbolism and the romantist, while the digital were the richness of contents and the adventurous were the romantist.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.2
• /
• pp.221-236
• /
• 2016

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe $L{\oe}il$ expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, it targeted the women's wear collections of Paris, Milan, London, and New York, limiting its range from S/S 2010 to F/W 2015. The results are as follows: First, based on the preceding research, the types of Trompe $L{\oe}il$ expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe $L{\oe}il$ based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe $L{\oe}il$ such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.

• Journal of Digital Convergence
• /
• v.11 no.1
• /
• pp.153-163
• /
• 2013

The application demand has been rapidly increasing along the growth of smart devices. Companies actively use the application as marketing tools. In particular, fashion businesses expect the improvement of customer loyalty and brand image by using the applications as the communication channel with consumers. This paper investigated the relationship between mobile shopping motives and mobile shopping acceptance. Influence of such variables on perceived importance of various fashion application attributes was also accessed. Data from male and female respondents were analyzed for the empirical study. Results indicated that mobile shopping motives were classified into convenience, ubiquity, impulsiveness and economic motives. Fashion application attribute was classified into contents, continuous management, design/visibility, downloading and community. Mobile shopping motives had significant correlation with fashion application acceptance. Shopping motives and fashion application acceptance had significant impacts on perceived importance of various fashion application attributes.

• Journal of Fashion Business
• /
• v.19 no.6
• /
• pp.82-100
• /
• 2015

Mobile fashion apps present much opportunity for marketers to engage consumers, however not all apps provide enough functions for their targeted audience. This study aims to determine how mobile fashion apps can be used to build brand community with consumer engagement. Qualitative data on fashion mobile apps were collected from the Apple app store and Android market during the spring and summer of 2015. A total of 110 fashion mobile apps were collected;, 50 apps were identified as apparel brands that either manufacture or sell apparel to consumers, which we categorized as "brand" fashion apps, and the remaining 60 were categorized as "non-brand" fashion apps. The result of the study can be summarized as below. The 60 non-brand fashion apps were grouped into 5 app types: shopping, searching, sharing, organizational, and informational. The main functions are for informational use and shopping needs, since at least half (31 apps) are used for either retrieving information or for shopping. However, in contrast, social networking and location were infrequent and not commonly utilized by these apps. The most common type of non-brand fashion apps available were shopping apps;, many shopping apps enable users to shop from several different websites and save their items into one universal shopping cart so that they only check out once. Most of these apps are informational and help consumers make more informed decisions on purchases;, in addition many offer location services to help consumers find these items in store. While these apps perform several functions, they do not link to social media. The 50 brand apps were grouped into 5 brand types: athletic, casual, fast fashion, luxury, and retailer. These apps were also checked for attributes to determine their functionality. The result shows that the main functions of brand fashion apps are for information (82% of the 50 apps) as well as location searching (72% of 50 apps). Conversely, these apps do not offer any photo sharing, and very few have organizational or community functions. Fashion mobile apps and m-marketing elements: To build brand community, mobile apps can be designed to motivate consumer's engagement with brands. The motivations of fashion mobile apps are useful in developing fashion mobile apps. Entertainment motives can be fulfilled with multimedia attributes, functionality motives are satisfied with organizational and location-based features, information motives with informational service, socialization with community and social network, learning and intellectual stimulation from informational attributes, and trend following through photo sharing. The 8 key attributes of mobile apps can correspond to the 4 m-marketing elements (i.e., Informative content, multimedia, interactions, and product promotions) that are further intertwined with m-branding elements. App Attributes and M-Marketing aim to Build Brand Community;, the eight key attributes can impact on 4 m-branding elements, which further contribute to building brand community by affecting consumers' perceptions of brands preference and advocacy, and their likelihood to be loyal.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.48 no.1
• /
• pp.20-36
• /
• 2024

Over the past three years, even amidst viral threats, a notable shift towards online interactions has been observed. This trend persists the presence of significant viral concerns. Our study centered on female office workers in their twenties and thirties in Korea, seeking to comprehend how they enhance and present their external image in the digital era. We explored the use of digital devices and fashion choices that enable them to amplify their self-expression in video conferences. Using a mix of surveys and in-depth interviews, we employed snowball sampling to recruit twelve participants. These women were given the opportunity to shape their digital persona either to uphold their current image or to adapt it for interactions where they weren't face-to-face. Their desired images fell into three distinct categories: an authoritative professional image, a clean modern image, and a natural image. Depending on the context, the participants aimed to convey these images independently or in various combinations. Our findings suggest the need to develop strategies for acknowledging and projecting individual fashion identities in non-face-to-face interactions. Such strategies would empower individuals to better align their online personas with their desired self-image, whether it's professional, modern, clean, natural, or a combination thereof.