• Fashion & Textile Research Journal
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• v.23 no.1
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• pp.106-117
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• 2021

This study proposes a design process for an upper limb assistive wearable soft robot that will enable the development of a clothing product for an upper limb assistive soft robot. A soft robot made of a flexible and soft material that compensates for the shortcomings of existing upper limb muscle strength assistive devices is being developed. Consequently, a clothing process of the upper limb assistive soft robot is required to increase the possibility of wearing such a device. The design process of the upper limb auxiliary soft robot is presented as follows. User analysis and required performance deduction-Soft robot design-upper limb assistive wearable soft robot prototype design and production-evaluation. After designing the clothing according to the design process, the design was revised and supplemented repeatedly according to the results of the clothing evaluation. In the post-production evaluation stage, the first and second prototypes were attached to actual subjects, and the second prototype showed better results. The developed soft robot evaluated if the functionality as a clothing function and the functionality as the utility of the device were harmonized. The convergence study utilized a process of reducing friction conducted through an understanding and cooperation between research fields. The results of this study can be used as basic data to establish the direction of prototype development in fusion research.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.54-61
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• 1999

The Fashion Distribution Business (FDB) is thriving to such an extent that the current period is called "The Era of Fashion." This FDB shows tendencies towards specialzation, globalization and expansion. The domestic FDB has been rapidly globalizing, and thus it is time for us to recognize that the fashion business has grown beyond its former role as a production-oriented retail business to include multiple new roles. This strategy to plant Store Identity on customers is just a Visual Merchandising (VMD) Strategy. That is, a strategy to visualize the Product Planning, which can be called a Complex Visual Expressing Technical System that classifies and arranges products in order to be easily seen, chosen, and bought through exhibition and arrangement. My aim is to break away from the conept that has been focused only on display division and to present product scheme correctly and to establish a VMD Plan which can also contribute to sales promotion by providing infirmation and arranging Store Display efficiently for customers. Additionally, this is aimed to present an efficient and sensitive design process.esign process.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.699-706
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• 2004

In today's fashion industry, directions for new products and high value added of fashion goods, product changes according to cycles, the shortening of life cycles, added value, planned obsolescence, and presentation is focused on fashion trends that will be selected by many consumers at the point of selling time. Therefore fashion information poses great importance and its weight is growing bigger everyday. Fashion information recognized to be important is reflected practically in the prediction of fashion changes in the fashion industry; especially, it is the first stage of the merchandising process that is the course of new product development. Presently, with some differences according to the size and specialized area of a firm, domestic fashion menufacturers obtain information from sales data of competing brands and their own, market information, consumer information based on primary data, shared fashion trend information given by domestic fashion information providing companies. Firms can not produce differentiated images and product concepts using such shared information. Although the types, importance and reflection of used information vary according to merchandising processes, all experts engaging in the merchandising of fashion products use the same shared information.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.19-29
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• 2004

The current fashion market is experiencing a lot of difficulties in fashion forecasting due to consumers' fast-changing lifestyle on fashion, changes in consumer behavior, and the segmentation of the fashion market. To cope with this harsh reality, many fashion enterprises have paid much attention to the SPA (Specialty Retailer's Store of Private Label Apparel) brand as a promising fashion marketing strategy in terms of which they can survive in the extremely competing fashion market. The SPA brand is in the stage of inception in Korea, but the SPA brands such as MUJI and UNIQLO are already dominating the fashion business in Japan. Korea has just started developing the SPA brand, but its technological development, which was triggered by the success of 'BASIC HOUSE', is rapidly evolving. Under these circumstances, the SPA brand is getting vital for the fashion market in efficiently realizing consumers' requirements, revolutionizing the method for providing product information and the process of Marketing Mix Program, and expressing the value of shop. This paper studies the nature of the SPA brand and fashion merchandising system, and in turn examine the differences between the visual merchandising of the existing fashion brands and the Japanese SPA brands that are used as the fashion marketing strategy which is driven by the up-to-date technological system. Centering around these issues, we propose a visual merchandising system for fashion enterprises which serves to develop Korean-style SPA brands.

• Fashion & Textile Research Journal
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• v.25 no.1
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• pp.1-10
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• 2023

An eco-CMF design process is vital to the sustainable development of fashion products concerning both emotional and physical quality factors, thus extending the use phase of the product life cycle. Life cycle assessment (LCA) is widely used in other fields to evaluate environmental impact; However, the method is rarely adopted in fashion. While cooperating with design, technology, and the users, reflecting the CMF design process is an excellent approach to the sustainable development of fashion products. Moreover, it is likely to evoke favorable reactions in users toward products. Therefore, this study aimed to review the sustainable design strategies associated with CMF in the fashion industry. Using a systematic review, 135 papers that met the inclusion criteria were examined from peer-reviewed journal articles published between 1990 and 2022. They contained specific design processes or tools relevant to eco-CMF design. The search used the Web of Science database. After a rigorous search, the final six peer-reviewed journal articles were selected and underwent thorough content reviews. Then, the CMF design tools and frameworks for eco-design featured in the articles were carefully reviewed and analyzed. Finally, we proposed practical guidelines for the sustainable development of eco-CMF design in the fashion industry. The study outcomes revealed the need for concrete eco-CMF design processes, particularly for fashion products. Furthermore, more active research involving eco-CMF design processes for the sustainable environmental impact of fashion products is required.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.177-193
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• 2012

The purpose of this study is making a contribution to expand course of employment precluding students from fear and perception of danger related to establishing fashion business and improving self-confidence with practical businesses through an education experiencing in establishing fashion business with united both theory and practice. In this study, A Merchandise-Process consisting of researching, merchandising, marketing, selling has been applied after selection of fashion items by 4 groups of applicants. As a result, the result of these applicants's reaction has shown that most of them has improved self-confidence and felt a sense of accomplishment about practical businesses. The Applicant has experienced the market situation, realized reality of the business and formed human relationships with many people through the marketing. In conclusion, experience of applicants has shown that practical education is important because it was providing applicants with self-confidence of establishing fashion business, importance of teamwork and a sense of accomplishment about making a profit. Therefore, converting theoretical education to practical education is needed. A limitation of this study is that the detailed part of merchandising was omitted because the whole course of merchandising should be accomplished within a semester. To develop this study, detailed proceeding methods divided by one process is required.

• International Journal of Costume and Fashion
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• v.15 no.2
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• pp.79-91
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• 2015

Creativity is an ever-increasing research area related to fashion design, namely the documentation and dissemination of creative scholarship. The purpose of this project is to apply creative bridge or creative leap theory to the development of an existing designer's garment collection using the creative design process of an architect. A single case study design was used to investigate the phenomenon of design process creative leap using a direct observation. Results indicate the difficult challenge of producing new and individualized silhouettes for the marketability of clothing, it is apparent that new methods of fostering creativity in designers through non-traditional approaches would benefit the education of apparel designers. Through targeted design practice, educators and practitioners can apply the principles of scientific inquiry into design processes to solve a problem, address a challenge, or create based on personal inspirations.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.78-85
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• 2002

This study aims at alalyzing the circulation process, merchandising system of Mosi(Korean traditional garment material), and accessing the way of interior design of Mosi market. There are three kinds of garment material of Mosi such as Pilmosi, Gootmosi, Taemosi classified by manufacturing process. At Mosi market, these three materials are sold in due sequence. Mosi market needs three space zones such as Mosi market space, inspecting space of Mosi and resting place, and these three spaces have strong interrelationship, so designer should plan not to disterb the moving flow. In the Mosi market space there should be divided by three zones such as Pilmosi marketing place, Gootmosi marketing place, and Taemosi marketing place in due sequence. The furniture of Mosi market place divided two kinds such as furniture for Pilmosi and that of Gootmosi or Taemosi. The proper form of furniture for Pilmosi is circular arc bar counter and that for Gootmosi or Taemosi is low rectangular table.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.280-291
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• 2004

Apparel goods are classified by many criteria for ease of merchandising implementation. Fashion and basic goods are also an oucome oi classification. Previous studies pnvide some criteria by which apparel products can be classified into fushion and basic goods. Among those ciiteria, seasonality, fashionability, clothing types, complexity in pnduction, simplicity of style, pioducuon volume, degree of style change by season, could be listed. This study, first explored how apparel merchandisers and designers define fashion and basic goods in relation with those criteria. Definitions of fashion and basic goods were explored in terms of design elements (i.e., style, color, material), production volume, sales ratio, proportion in product assortment, and contribution to profit. The study adopted a qualitative approach by use of eighteen infepth interviews with menhandisers and designers. Six were from women＇s wear brand, Seven from men＇s wear brand, and 5 from casual wear brand. All the interviewees agreed that they are using the classification of basic vs. fashion goods. However, they are using diverse terms to indicate the basic and fashion goods. The interviewees defined each group based on its contribution to total sales or profit complexity in design, production volume, and style change by season. Basic goods had a higher level of production quantity, contribute more to profit simpler design, and less style change by season than fashion goods.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.1-15
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• 2014

Fashion leadership is divided into visual influence, linguistic influence, and dual leadership. We refer to people exercising such influential power as fashion innovators, fashion opinion leaders, and fashion double leaders, respectively. Scholars and marketers have raised continuous questions on this issue: who are these fashion leaders and what characteristics do they have? In this study, social network analysis is applied to grasp the existence of three types of fashion leaders in college clubs, examine their positions in fashion process networks and investigate their individual and social characteristics. For this study, three college clubs were recruited through convenience sampling and surveyed online. Peer nomination questions for structuring fashion process networks and self-evaluation questions for measuring personal characteristics are included. Two fashion networks, an opinion leadership network and an innovativeness network, embrace four to six leaders and illustrate similar structure patterns in the three groups, which indicates that dual leaders enjoyed the lion's share in college clubs. The number of fashion innovators tends to be fewer compared to that of fashion opinion leaders, and we infer that peer relationship appears to intervene with fashion opinion leadership. Other personal characteristics supporting results from previous studies are also confirmed in this study.