• Journal of Information Technology Applications and Management
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• 제18권2호
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• pp.1-21
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• 2011

In this era of convergence, which is characterized by the integration and combination of technology and industries, broadcasting and communications, offline and online, and devices and services, the content industry is also experiencing rapid changes including inter-genre exchange, the creation of new industries, and customized demand. Specifically, IT-based digital content industries such as the online game, e-book, mobile contents and web portal industries are no longer restricted to the boundaries of video, music and games but are being expanded into the realms of education, medicine, fashion and sports thanks to CT innovation of 3D, CG, AR/VR, VFX, etc. As such, various countries have come to recognize the convergent content industry as a new growth engine that will pick up where the IT industry left off, and are forming policies for its development accordingly. This research aims to optimize the system of content taxonomy which is currently genre-focused and unable to support technological development and convergence, and to discover and select star contents to be rigorously developed with governmental support. In this paper, 20 star contents in 8 areas were selected, and these are expected to create tremendous cultural and economic value through ongoing technological and industrial development.

• 한국의류학회지
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• 제28권5호
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• pp.570-581
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• 2004

The purpose of this study is to analyze the acceptance and interpretation of pop musician's image in the Korean youth subculture, Fan Costume play(Fancos). Fancos subculture took the most active attitude to accepts of the pop musician's image and therefore was assumed to have various and differential acceptance aspects. The ethnographic method was used in order to approach more closely from their point of view. The cultural activity of Fancos subculture was imitation and reappearance of pop musician's appearance. Actually Fancos is a kind of fan-culture which idolized Korean pop music star. The acceptance of musician's appearance in Fancos is found out in two aspects. One is passive acceptance aspects that inforces conformity of star fashion and follows servilely ideal body image which promoted by cultural industry. The other is unique acceptance aspects that Fancos members interpret the musician's image in their own way. Those members experience pleasure through their own meaning. And homology of their appearance makes a distinction between of themselves from other youth and intensifies their group identity. As above analyzed, Fancos subculture has differential acceptance of pop music star's image comparing to other youth and even their stylistic appearance reflects not only their fandom but also their own meaning. Consequently, pop musician's image as a popular cultural text is accepted not equal to all populace but dissimilar along with contexts and trails of the acceptance group.

• 한국의상디자인학회지
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• 제14권1호
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• pp.131-150
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• 2012

The purpose of this study is to provide the characteristics of marketing strategy on the SPA(Specialty store retailor of Private label Apparel) brand. This research can be used as information for the domestic SPA brand to enhance its international competitiveness. The characteristics of marketing strategy on the SPA brand are as follows. 1. One company integrate vertically the process of planning, production, promotion and distribution. 2. As using the advanced information, productions, and logistics systems, they are carried out speedy management. 3. The production strategies are focused on providing new goods of fast cycle and very diverse styles in a season, developing products that accurately reflect the general market trend and consumer demands, extending the line of goods, outsourcing of the place to reduce production costs. For high-quality goods, they are collaborating with the famous designers and developing of new and green environment materials. 4. Generally, the SPA brand emphasizes the low price strategy against the quality. 5. The promotion strategies are focused on conducting various unique and high sensible VMDs, fashion shows, star marketing, campaigns, aggressive publicity, magazine & outdoor advertisement and various events through the internet website, etc. 6. The place (distribution) strategies of SPA brand are focused on launching into global, expanding number of stores, increasing large-sized stores and diversifying the forms of store and selling.

• 한국의상디자인학회지
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• 제12권1호
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• pp.61-76
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• 2010

세계적으로 넥타이는 착용자의 이미지를 표상하게 됩니다. 따라서 특히 넥타이 디자인에 각국의 문화적 요소를 활용하는 것이 문화적 이미지의 패션 상품 디자인과 함께 매우 중요하다. 본 연구의 목적은 한국 및 베트남의 전통문양을 학습에 적용 및 전통적인 문양에 관심을 더 이해할 수 있게 도와 연구팀은 이러한 문양을 활용하여 특별하고 양국의 문화를 내표한 고유하고 세련된 넥타이를 개발하고자 함이다. 우리는 또한 한국 및 베트남 전통문양 사이의 상징성 의미가 특히 유사한 문양을 설계도면 방법차이를 발견했다. 따라서 한국 및 베트남 문양 사이의 조합의 경우, 본 연구뿐만 아니라 국가의 특정 문화에 기여하는 다른 나라에 한국 및 베트남문양에 대한 미학의 측면을 소개하였다. 결과를 요약하면 다음과 같다: 첫째, 한국 및 베트남 전통문양이 미학적, 실용성 및 문화유산의 가치가 있음을 알 수 있었다. 둘째, 한국 및 베트남 전통문양의 소재로는 식물, 동물(조류, 곤충, 상상의 동물, 길상형상 및 문자, 기하형태 등이 있다. 셋째, 한국전통 기하문양의 태극문양과 베트남의 전통기하문양의 특별한 기원과 행운, 창조의 조화 등 의미가 있으며, 이들 각각의 문양은 국기에 사용되어 현대에 이르기 까지 양국가를 상징하는 공통점이 있다. 넷째, 한국 및 베트남의 우호증진을 기원하고 국제경쟁력이 있는 양국의 고유한 문화가 깃든 국제경쟁력이 있는 독특한 넥타이 상품개발을 위해, 양국의 대표적 전통 기하문양인 태극문양과 별문양을 응용하여 넥타이디자인을 행하였다.

• 한국의상디자인학회지
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• 제8권2호
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• pp.109-123
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• 2006

Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

• 복식문화연구
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• 제15권3호
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• pp.483-495
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• 2007

The purpose of this study is to examine the current situation of IMC strategies of Korean fashion brands which enter into Chinese market and to propose the efficient IMC strategies. Twenty Korean fashion brands which enter into Chinese market were selected and in-depth interviews with the managers were conducted. First, advertising is focused on magazines, and outdoor advertising, advertising in departments' magazines, distributing catalogs, and star marketing are performed in some cases. Brands often execute sales promotion activities such as price deduction, offering coupons, and presenting gifts. PR activities like events and sponsorship marketing which targets uncertain public or loyal customers are performed. PPL is conducted passively though it can be very effective. CRM is not operated systematically and customer management is conducted through tele-marketing and direct mail by shop managers. Web sites of brands have insufficient contents and are operated ineffectively. VMD follows brand's basic policy, but in cases of agents whose copyrights are transferred or branches which are place in areas where managing them is hard, shop managers operate their stores by themselves. Finally, because of socialistic consciousness, the perception about service of sales people is lacked.

• 복식문화연구
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• 제22권5호
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• pp.688-701
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• 2014

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

• 한국지역사회생활과학회지
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• 제19권3호
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• pp.431-444
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• 2008

Today people obtain much information about appearances through movies. The stars' body images in movies have been created through total fashion as they play the roles of an ideal model to create actual body images. This study examined the relations between the body images in the film media in terms of appearances or total fashion and actual body images based on the simulation theory by Jean Baudrillard. It conducted a literature study by collecting and analyzing film media-related picture images from books, papers, periodicals and the Internet home and abroad. The research scope was limited to the stars who made appearances in movies and the ones who starred in movies in addition to their other lines of work. As a result, the following conclusions were drawn; the stars' body images went hyperreal between their actual body images and the ones of their roles in movies and then were simulated in fashion. To be specific, 1. the stars' actual body images went hyperreal and were simulated in fashion in the following cases; 1) the stars in the heyday of film; 2) fashionistas; and 3) pictures taken by paparazzi. 2. The body images of their roles went hyperreal in the following cases; 1) through brand participation; 2) through changed body images; and 3) through cyber body images. Their body images became hyperreal and were simulated in fashion by the input of fashion designers and the techniques of other areas. The body images in film are the object of desire to the audience. They go hyperreal and become the ideal body image to real people. The various kinds of hyperreal images in the film media create new beauty as a reference and object of comparison for people to change their body images in reality.

• 감성과학
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• 제19권3호
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• pp.59-70
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• 2016

아동복 시장에서 질적인 소비의 성장과 함께 육아 예능 TV 프로그램이 대중들의 인기를 끌고 있다. 본 연구는 유아동의 자녀가 있는 구매자인 30대와 잠재적 구매자인 20대들을 대상으로 육아 예능 TV 프로그램 시청 상황을 조사하고 육아 예능 TV 프로그램 시청이 유아동복 쇼핑 성향과의 연관성을 분석하였다. 본 연구는 문헌고찰을 통한 이론적 연구와 설문조사를 통한 실증적 연구를 병행하였다. 이론적 연구는 유아동복 쇼핑 성향에 관한 서적, 인터넷 뉴스, 국내 선행 논문 등을 바탕으로 조사하였으며 설문조사는 유아동의 자녀가 있는 30대 100명, 잠재적 구매자인 20대 101명을 대상으로 조사하였다. SPSS통계분석 결과 다음과 같이 나타났다. 첫째, 육아 예능 TV 프로그램 시청시간이 길수록 아동복 구매 시 육아 예능 TV 스타 동조성향이 크게 나타났다. 육아 예능 TV 프로그램 시청에 대한 선호도가 높을수록 아동복 구매 시 육아 예능 TV 스타 동조성향이 크게 나타났다. 둘째, 자녀가 있는 소비자뿐만 아니라 잠재적 소비자 역시 아동복 구매 시 육아 예능 TV 프로그램의 영향을 받는 것으로 나타났다. 이상의 연구 결과로 추측해 볼 때, 육아 예능 TV 프로그램 시청이 유아동복 쇼핑 시 육아 예능 TV 스타를 따라하고 싶은 동조성향에 큰 영향을 준다는 것을 볼 수 있었다. 이에 따라 유아동복 제품에 대한 육아 예능 TV 프로그램의 노출이 현재 소비자와 미래 소비자의 구매에 긍정적으로 작용하고 있다는 것을 알 수 있었다.

• 복식
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• 제40권
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.