• Fashion & Textile Research Journal
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• 제18권3호
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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 Fashion Business
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• 제15권4호
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• pp.28-42
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• 2011

Philp Lim, Alexander Wang and Jason Wu are the American fashion designers as descendants of Chinese immigrants. They had the honor of being given the Swarovski Awards- new premier fashion designer- from CFDA(Council of Fashion Designers of America). The purpose of this study were to investigate the characteristics of their collection, and offered the informations for Korean designers entering the American market. This research categorized characteristics of these designers'- whole characteristics and the characteristics of details such as formal characteristics, optimistic characteristics, tactile characteristics-, and fashion styles from the S/S season of 2009 to the F/W season of 2010 were analyzed. These young and male designers being received attention as a star, didn't make creative art pieces. But they made pragmatic, commercial, and con-temporary works in whole characteristics and succeeded in their fashion business like other American designers. On the other hand they oriented high fashion clearly in terms of the detail characteristics - their own accent color, tiny change in variety, unique material, delicate ornaments. Therefore Lim created chic and stylish, Wang made a sporty street style, Wu made a luxury style with mannish and casual through work characteristics suitable for their costumer.

• Journal of the Korean Society of Clothing and Textiles
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• 제37권3호
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• pp.292-305
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• 2013

This study reported present state of clothing technical designers' work duties and working conditions, so as to suggest effective ways to develop professional training methods for them. Technical designers working for vendors and agents were surveyed as they represent the majority of technical designers in Korean clothing industries. Survey participants were 62 technical designers working for 6 clothing vendors and 2 clothing agents, and the survey closely inspected their work qualifications, duties and responsibilities, working conditions and training conditions. Survey was conducted from June $27^{th}$ to July $17^{th}$, 2012. The questionnaire examined frequency analysis and multiple response analysis using SPSS 19.0 Windows after investigating documents and work fields through personal experiences and interviews from technical designers for data collection and analysis. A chi-square test analyzed the preferred type of fitting for technical designers of vendors and agents. The results showed that 32.3% of those surveyed have more than 7 years of work experience and the highest level of education is predominantly a bachelor's degree (57 people, 91.9%). Among the work responsibilities, respondents did sample measuring more than four times a day. Also, the results showed that technical designers needed to qualify: first 'Fitting Technic', second 'Pattern Correction Capability', and third 'English Skills to Communicate with Buyers'; subsequently, education on several technics (such as measuring, grading, and fitting) were required for the job. Current technical designers answered that they need more various work-related education. However, the analyzed results showed that pre work-related training was insufficient. The data shows that technical designers require re-education in 'Pattern Correction Method' (61.3%) and 'Sewing Education' (64.5%).

• Korean Institute of Interior Design Journal
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• 제18권6호
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• pp.69-76
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• 2009

As sensibility ergonomics are broadly spread, recently in interior design area, interests on roles of sensibility, sensibility effects for users, and etc has been increased. As a study on sensibility design for interior design area, the study applied sensibility ergonomics technique to bathroom interior design. Sensibility ergonomics technique is integrated into each phase of bathroom design process in order to produce 4 design alternatives. Sensibility evaluation on design alternatives was performed for subject of designers, and analyzed the results to show the relationship between sensibility of designers and design factors and to identify characteristics of designer's sensibility structure. The results of the study are as follows. First, it's found that in the bathroom interior design of sustainable concept, uses of bright colors with white tone and floor tile creates positive sensibility responses such as delight, healthiness, spaciousness, and cheerfulness. Second, designers' sensibility structure about sustainable bathroom is composed of three axles, healthiness, eco-friendliness, and refinement. Third, designers think colors of interior and finished materials is most important, and window, artificial lighting, layout, and space size related to those is important too. The process and approach in the study might contribute to building a fundamental of sensibility design research in interior design area.

• Proceedings of the Korean Institute of Interior Design Conference
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• 한국실내디자인학회 2004년도 추계학술발표대회 논문집
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• pp.169-172
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• 2004

The purpose of this study was to identify the searching method and application of intoner design trend of interior designer. The questionnaire survey were used. The subjects of questionnaire survey were 50 interior designers in 6 interior design firms. Frequency, percentage, and cross-tab were used for data analysis. The major results were as follows. 1) Interior designers thought that consumers visiting at apartment model house were concerned about interior design trend and aware of interior design reflected trend. So interior designer gave expression to interior design trend. And they needed information about interior design trend and consumer's interior design preference. 2) Interior designers found interior design trend or consumer's preference from some exhibition or fair, journal, and internet materials. 3) Interior design trend was mainly expressed in living room design. And Interior designers utilized finishing material and color in expression of interior design trend.

• Journal of Fashion Business
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• 제5권4호
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• Journal of Fashion Business
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• 제23권6호
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• Journal of Fashion Business
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• 제4권4호
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• pp.71-82
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• 2000

The purpose of this thesis is how to find the way of activating Korean fashion industry, by reviewing the accomplishments of British young designers, Hussein Chalayan, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Also the fashion school should watch their curriculum. and change it gradually to the up-todate one. Thirdly, the Korean new generation designers should do effort to have the highest tailoring technique and artistic good sense. Finally, the designer should have broad range of knowledge for their design. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.

• Journal of Fashion Business
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• 제2권3호
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• pp.43-54
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• 1998

In recent years, the influences of Korean fashion industry have slowly declined and numerous clothing-associated industry have come to be bankrupt, due to a national economic crisis. The purpose of this thesis is how to find the way of activating our fashion industry, by reviewing the accomplishments of British young designers, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Thirdly, the designers should do effort to have the highest tailoring technique and artistic good sense. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.

• Journal of the Korean housing association
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• 제20권1호
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• pp.19-26
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• 2009

As a response to the recent increase in the Interest in environment friendly interior finishing materials, the purpose of this study is to compare the awareness of environment friendly interior finishing materials between interior designers and housewives, as representatives of two different consumer groups, and to examine how the preferences between them differ. The study participant group for this research consisted of 80 interior designers working in Gwangju, and 166 housewives who were residents of a number of apartments in Gwangju. Self administered questionnaires were provided to the participants and were then collected. Unpaired t-tests and $x^2$ tests were used to compare the prevalence of epidemiological factors and the variables that revealthe awareness and the preference between the two groups. While it was expected that both groups would source information using the internet, the housewives group showed a tendency to also seek advice from others in the selection of environment friendly interior finishing materials. Interior-designers considered the high price and the lack of diverse products as the most serious problems involved in selecting environment friendly interior finishing materials. Interior-designers chose design, color and long-term use, and the method of maintenance as standards by which to choose interior materials in general, while the housewives considered 'environment friendly' as the most important standard. Both groups however favored environment friendly materials. There was no difference between the two groups in terms of their belief in the need to trust a well known brand name and in the importance of a Green-label placed on interior finishing materials such as wallpaper, paint and laminate flooring.