• Journal of Fashion Business
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• v.26 no.5
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• pp.76-90
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• 2022

The rapid growth and influence of digital technologies have had a profound effect on modern society. Companies and businesses can connect through SNS(social network service accounts). The importance of mass media empowers the creation of virtual images that are more realistic than time and space. Unlike traditional reproduction or imitation, the virtual images created in this way are reproduced in a form that lacks the original inspiration's essence. Jean Baudrillard described this phenomenon as the theory of simulation. Baudrillard argued that imitated simulated images replace reality. He stated that reality is lost under excessive images in modern society. In response, based on an understanding of the theory of hyper-reality that emerged through the late stages of the order of simulacre, this study aimed to analyze modern fashion's method of reproducing hyper-real images and investigate the method's characteristics. This study examined the characteristics of hyper-reality described by Baudrillard and analyzed the method of artistic expression of hyper-reality. Based on this method of expression, reproducibility, following the stages of image simulation, was derived. A specific case applied to fashion was analyzed, and based on the image reproduction method, specific characteristics of hyper-reality characteristics in fashion were obtained. Sixty-four collections were selected, out of which 155 images and 43 brands demonstrated the principles of image transformation.

• Proceedings of the Korea Information Processing Society Conference
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• 2024.05a
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• pp.851-853
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• 2024

본 논문에서는 MediaPipe 라이브러리 및 OpenCV 를 활용한 포즈 추정 및 체형 인식 알고리즘을 통해 사용자의 체형과 선호도에 맞는 의류를 가상으로 입어볼 수 있는 생성형 FashionNet 을 제안한다. 구체적으로는 먼저 웹 카메라를 통해 얻어진 사용자의 외형 이미지로부터, 사용자의 신체 포즈를 추정하고, OpenCV 코드를 통해 사용자의 신체 윤곽을 검출한다. 이후 가상 옷장 데이터베이스로부터 선택된 가상 의류를 사용자의 신체 윤곽에 맞춰 입혀진 가상 피팅 이미지를 생성한다. 특히, 본 논문의 FashionNet 은 사용자와 카메라 간의 거리에 따른 인체 비율을 사전 실험으로 미리 설정해놓음으로써, 카메라와 사용자간의 거리에 관계없이 의류 사이즈가 사용자의 신체 조건에 맞게 자동으로 피팅되는 특징을 갖는다. 또한 가상 옷장 데이터베이스로부터 의류 아이템 선정의 편의를 제공하기 위해, 가상 현실 속에서 스크린상의 메뉴 버튼과 사용자의 포즈 동작간의 상호작용을 통해 FashionNet 의 다양한 기능을 수행할 수 있는 증강현실(AR) 기법을 적용하였다. 가상 옷장 데이터베이스를 사용한 다양한 가상 피팅 체험 실험을 통해 온라인상에서 자기가 원하는 의류를 가상으로 착용해 볼 수 있고 이를 통해 구매를 결정하는 등의 FashionNet 의 유효성과 가능성을 확인하였다.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.185-204
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• 2012

There are lots of sexual images in the contemporary media, and this is due to many of the media formats, such as television, magazines, and the Internet, using these images to relay various messages to the people. The media uses these sexual images (i.e. woman in a bikini) in order to use sex and eroticism as a marketing tool to the audience. Unlike other men's magazines, which actually have many female readers, Maxim magazine's readers are made of mostly men, and because of this, their magazine covers are usually filled with sexy women celebrities, such as singers or actors; images that can attract the general men. This study puts its focus on evaluating Maxim magazine's marketing strategy. The strategy of targeting men in their 20's and 30's, who were not interested in reading, but were impulsive and visually oriented. The study looked at magazine covers from November 2002 (the start of the magazine) to October 2008 (the peak period of its sales), and a total of 72 images were analyzed. For each image, 5 things were recorded (model's occupation, clothing style, hairstyle, makeup, pose and gaze).

• Fashion & Textile Research Journal
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• v.6 no.5
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• pp.667-672
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• 2004

Poly(ethylene terephthalate) (PET) fabrics were treated with a silica particle and phosphate flame retardant to determine the optimum process condition of the digital textile printing(DTP) media. The treating conditions for the study were 6 conditions, from F1 to F6, in which F3, F4 and F5 were treated with mixture of both silica particle and phosphate compound in process of pad, dry and cure fixation. F6 was treated with phosphate compound only and silica particle coating successively. Xanthan gum was used to control the migration of liquid phosphate compound onto PET fabrics. The change in surface morphology of fabrics treated with silica particle and phosphate compound was observed by SEM and flame retardance was evaluated by limiting oxygen index(LOI). It was observed that F6 was the excellent flame retardance and low bleeding in printing, Collectively, the printing characteristics of silica to cyan, magenta, yellow and black ink and flame retardance of fabrics finished with phosphate compound were identified in this study.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.113-127
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• 2008

Artificial lights have effected the changes of art and fashion concepts as well as human life since the invention of electric light bulb in late 19th century. Artist and designer have had more interested in these artificial lights as the development of digital technology and the change of millennium and they have tried to apply the lights into their works. The purpose of this study is to analyze the aesthetic characteristics of contemporary fashion design using artificial light as a medium. Artificial light for fashion design means the light using luminescent material like phosphorescent and fluorescent materials or in combination with electroluminescent digital technology or the light that can be perceived as images when light projects from media using a light projector or other digital equipment. Fashion design using this light type can change colors or form temporarily and it can playa role as a gadget for hm or as equipment to provide information much as a computer monitor does. And designer can create virtual patterns on the surface of clothes, or virtual fashion like a 3-dimensional holography in empty space. In these fashion designs, the virtual image of light is substituted for physical formative elements in fashion, and the viewer can experience an ambiguity between reality and virtuality. The results of the study were as follow; The formative characteristics of those fashion designs were identified as visibility, indeterminacy, integration and virtuality. And they reflected the internal meanings; the persue of protection and safety, the search for experiment and innovation, the will for interaction and communication and the desire for the deviation and fun.

• Journal of Fashion Business
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• v.18 no.4
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.

• Journal of the Korean Society of Costume
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• v.54 no.2
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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.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.79-92
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• 2015

Covers of fashion magazines are part of the media that reflects the zeitgeist. Thus an analysis of the covers is a tool to probe the social and cultural changes of a period. This study attempts to shed light on the changes of the image of women on the cover of men's fashion magazines; this study intends to investigate the changes of status and role of women, from the past up to the present, through analyzing the meaning of the image of female models. For this purpose, this study conducts both literature and corroborative research. The period for the analysis is limited to post-1960s when female models began to appear alone on the cover of men's fashion magazine. The three decades from the 1960s through today have been analyzed according to its characteristics. The result is as follows: female models in the 1960s were shown as subjugated and ancillary to men as a commodity for the affluent materialistic civilization after World War II. In the 1970s, thanks to feminism movement, the image of resistance dominated. As a result of women's right movement, the 1980s came to witness the female image of subjective characteristics. Finally, starting in the 1990s, a mixture of subjugated, resistant, and subjective image of female models has appeared. In the contemporary culture, where the communication through images is being increased, the image of the female models in fashion magazines could work as a criterion to measure the social change.

• The Research Journal of the Costume Culture
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• v.26 no.2
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• pp.172-187
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• 2018

For the past decade, the convenience of sharing information online has improved drastically with the development of smart devices and social media. Such changes have contributed to regarding online word-of-mouth (WOM) as one of the most important consumer information sources. Therefore, the purpose of this study is to examine online WOM effects (acceptance/redelivery intention) with the two-way interaction effects of fashion involvement and the market maven. The empirical study consisted of an offline survey that collected data from 341 respondents and analyzed the data by factor analysis, independent t-test, and two-way ANOVA with SPSS 20.0, producing the following results. First, the market maven effect was found to differ significantly based on the level of fashion involvement, and is also higher when fashion involvement is high. Second, fashion involvement primarily affected online WOM acceptance, while the market maven significantly affected redelivery intention. Moreover, fashion involvement and market maven had relevant two-way interaction with both of the online WOM effects. Third, market maven had measurable effects on WOM redelivery types (objective/subjective) and directions (positive/negative/ neutral), whereas fashion involvement did not have any primary effects on them. However, fashion involvement and market maven had two-way interaction effects on the positive and negative direction of WOM redelivery. Based on these findings, the study suggests the importance of investigating and understanding the complicated online WOM behaviors of consumers, specifically from both managerial and theoretical perspectives.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.131-146
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• 2017

The aim of this study is to investigate the operating characteristics of fashion start-up companies and the characteristics of their founders. For this purpose, this study surveyed fashion start-up companies via online survey in May 2015, and analyzed the data from one hundred companies. The results are as follows. First, for the characteristics of the founders, female founders constituted 65.0% and male founders 35.0%. At the time of establishment, founders aged 26-35 constituted 77.0%. Founders with less than five years of work experience made up about 80%. 82.1% of the founders participated in domestic and foreign exhibitions/fairs. 41.0% of the founders were awarded fashion contest and competition awards, and 33.3% of the founders were supported by rising designer support projects. Second, for the operating characteristics of the start-up companies, clothing at 78.0% was the most popular entrepreneurial item, and the majority targeted the age 20-30 group. 78.0% of the companies had less than 40 production styles per season, and all the enterprises had less than 5 employees. 59.0% of the companies had export experience. Exports to China, Hong Kong, and Japan accounted for 67.4% of all exports. Major distribution channels were mainly select shops(offline select shops 79.8%, online select shops 62.8%). The main methods of promotion were fashion media articles/interviews, product sponsorship, and SNS. The most preferred distribution channel was becoming a part of online/offline select shops(92.6%). Viral marketing(84.4%), star marketing and costume sponsorship(66.7%) were the most preferred method of promotion. The most preferred way to enter foreign markets was to participate in domestic and foreign exhibitions/fairs/trade shows. This study provides basic data necessary for future founders preparing to launch fashion start-up companies. It also aids fashion start-up companies in developing more advanced business operation strategies.