• The Research Journal of the Costume Culture
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• v.32 no.1
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• pp.86-107
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• 2024

Although interest in eco-friendly fashion products is increasing among scholars and industry leaders, the concept of eco-friendly products remains unclear, preventing consistent assessment of which fashion products are eco-friendly. This study conducted a content analysis of eco-friendly product information from 87 domestic and 102 foreign brands to reveal key standards for categorizing eco-friendly fashion products. Product characteristic information was coded according to the four material-based standards (i.e., organic material, regenerative material, alternative material, and sustainably produced/upcycled material). Consistency between coders was confirmed by Cohen's kappa. In results, eco-friendly fashion products are categorized by four material-based standards and two certification standards (i.e., certified, not certified). Among the four material-based categories, the greatest number of domestic and foreign companies produced eco-friendly products that were classified as the regenerative material group. In addition, companies acquired eco-friendly certifications related to the use of organic, regenerative, and alternative materials. The greatest number of eco-friendly material brands used for eco-friendly fashion products belonged to the regenerative material group. Based on the study results, a typology of eco-friendly products was suggested. This typology can benefit practitioners and academics by highlighting a need for classification system for the eco-friendly fashion products, as well as by providing insight into the categorization of eco-friendly fashion products.

• Fashion & Textile Research Journal
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• v.25 no.2
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• pp.153-164
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• 2023

As interest in the environment and sustainability increases, a tendency to pursue eco-design is emerging. Sustainable design coincides with the Korean aesthetic sense of applying the principle of the circulation of nature. This study examined Korean traditional furniture, Bandaji, from the perspective of historical and cultural sustainability and extracted and adopted a sustainability-related motif. The purpose of this study was to develop a creative bag design that reflects Korean tradition and strengthens artistry. First, a bag was produced based on the morphological characteristics of Gyeonggi-do Bandaji. Second, though the original overall design was maintained, the decorative patterns were modified by, for example, increasing the number of ear decorations on the surface of the bag and reducing the number of traps. Third, a new geometric pattern was created for the surface of the bag; this entailed moving the position of the handle-shaped ear ornament and the leather. Fourth, new decorative patterns were drawn on the surface. This study is meaningful in that it presents a sustainable bag production methodology that reflects Korean aesthetics. It also showcases a designer's unique, creative, and artistic bag design. It is expected that design work inspired by Korean formative beauty will be an opportunity to simultaneously utilize and support various Korean cultural assets and artworks.

• Journal of Fashion Business
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• v.23 no.6
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• pp.116-126
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• 2019

South Korea is known for its major manufacturing capabilities in semi-conductor, automobile, and IT industries. However, little is known about the competitive capabilities of South Korea's textile industry. The present study presents information about how Korean textile firms build their competitive capabilities on multiple fronts. Through a case study of two businesses operating in the South Korean textile and apparel industry, this paper illustrates a series of competitiveness enhancing initiatives, starting with the implementation of radio frequency identification (RFID). The main contribution of this article is the focus on how the interdisciplinary nature of the textile and apparel industry can benefit from and optimize the use of Information Technology through sustained efforts on multiple fronts. This study suggests that Korean textile firms approach their competitive capabilities in terms of strategic direction, innovative priorities, and operational focus. In the competitive global business environment, this could be the solution for the textile and apparel industry, by helping for the survival in the upcoming information age. Specifically, by adopting RFID-based SCM, firms can gain a competitive capability that promises sustainable growth in the future.

• East Asian Journal of Business Economics (EAJBE)
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• v.11 no.2
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• pp.29-38
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• 2023

Purpose - The current study aims to learn how fashion consumers now feel about environmental issues. The significance of "green fashion product creation" in resolving environmental issues is explored. It also examines how customers' environmental consciousness has evolved due to the introduction of green fashion products. Research design, data, and methodology - The study methods, procedures, and results of the 16 publications included in this literature review were critically examined. The data sources, analyses, and key findings presented in each publication were compared and contrasted. To better understand how to raise environmental consciousness among customers. Result - The investigation indicates a total of four results why eco-friendly product should be developed to attract potential green consumers. Four solutions are as follows; (1) Encourages Sustainable Consumption Behavior, (2) Increases Consumer Environmental Awareness, (3) Improves Corporate Social Responsibility, and (4) Enhances Competitive Advantage. Conclusion - Promoting sustainability in the fashion sector requires full visibility throughout the supply chain. Companies in the fashion industry would serve their customers better if they were more forthcoming about the resources, methods, and circumstances that went into making their wares. Consumers may accomplish this by including instructions on the packaging or posting them on the business's website.

• Fashion & Textile Research Journal
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• v.25 no.6
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• pp.732-738
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• 2023

This study delves into the realm of upcycling beauty design by repurposing discarded CDs, magazines, and fabrics. The study outlines a meticulous process for transforming waste into beauty designs. We created three upcycling beauty design works as part of this investigation. The first creation, called Silver Leaf, uses the silver section of CDs to craft leaves and stems. Achromatic colors are used as makeup to achieve cyber-inspired imagery. After carrying out silver-gray eye makeup, the lips were completed by affixing a CD component. The second creation is a firebird crafted by cutting or folding fashion magazines to create essential items. The colorful firebird image was completed using vivid color makeup of shades such as red and yellow. After proceeding with red eye makeup, the lips were completed by cutting and pasting magazine cutouts. The third piece is a spring flower, which involved selectively cutting lace patterns to complete a beauty design extending from head to face. The colors are spring-themed and encompass pink, yellow, and blue. Pink, blue, and green eyeshadows were applied on the lace, attached from head to face, chest, and lips. This study advocates for the prospect of upcycling beauty design using sustainable materials by repurposing waste resources. It also introduces the possibilities of creative activities in this field through upcycling. The study aims to play a role in changing the perception of environmental conservation, a concern of our times, through the use of sustainable resources.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.18-33
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• 2023

Zero-waste pattern cutting is a groundbreaking sustainable fashion practice. However, few brands and designers have pursued this method because it requires creative pattern design that diverges from the existing process of using pattern slopers. Therefore, application within the fashion industry is not sufficient. Therefore, in an attempt to highlight the key characteristics of zero-waste pattern design, this study classifies and analyzes cases in which similar designs employ zero-waste pattern-cutting techniques. We hope to make zero-waste pattern design more accessible by presenting realistic pattern-cutting guidelines. To this end, theoretical research on relevant literature, previous research, and online resources and an empirical analysis of cases involving zero-waste pattern cutting were conducted in parallel. As a result of the study, we were able to classify the factors of zero-waste pattern design in terms of fabric use, design, and composition. Regarding materials, our research revealed the importance of appropriate fabric width, understanding the difference between waste minimization and minimal fabric use, and easy reuse and recycling. In terms of design, the simultaneous progress of pattern and design work, adjustable loose silhouettes, and the use of surplus fabric for functional and decorative details emerged as key characteristics. For composition, we found that size adjustment limits, arrangement irregularity, and pattern shapes were crucial elements and that various arrangements revealed unlimited design potential.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.123-132
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• 2023

The term 'module' is an architectural term. It refers to the components or systems that make up a finished product. As industries develop, modules have become one of the methods that can create diverse and creative designs. Traditional modular fashion design mainly focused on structural methods, such as the combination, assembly, overlap, and arrangement of modules, as well as the tessellation of geometric shapes. However, in this paper, significance lies in exploring the application of shape grammar, a design method in architecture, to fashion design. It aims to search for ways to express three-dimensional designs, derive designs that can be worn and produced, and propose fashion design by applying the rules of shape grammar to the design process. Through this analysis, the paper aims to examine the methods and characteristics of shape grammar. The research method of this paper is as follows. First, by utilizing optimized programs for implementing the modules of shape grammar, it was possible to propose a method for producing modules of shape grammar and suggest module designs. Additionally, effective methods of representation using the Clo 3D program were explored in the design development process. Second, by applying shape grammar to the fashion design process, five-dimensional modular fashion designs were proposed, including a bolero, dress 1, dress 2, setup, and coat. The proposed modular fashion design using shape grammar in this paper provides a rational design process that differentiates itself from traditional modular fashion design. By formalizing the shapes between modules and creating rules, it overcomes the limitations of design that rely on the designer's intuition or sensibility and enables the development of more diverse modular fashion designs. This application of shape grammar in fashion design can provide an important direction in exploring a sustainable fashion industry.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.219-238
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• 2014

This study attempted to investigate present condition and product planning of global eco-fashion brands that harmonize fashion and sustainability. As research subjects, this study selected 97 oversea fashion brands mentioned in books related to eco-fashion, Black(2011), Brown(2010), Fuad-luke(2009). As for research methods, materials and ethical practices of these selected 97 brands through literature data and their internet site homepages. This study analyzed oversea eco-brands collected 26 British brands, 22 American brands, 36 European brands such as Germany, France, Italy, Sweden, Spain, Finland and so on, except Britain and 13 other regions including Japan, India, Canada, Mexico, and New zealand. In conclusion, the product planning characteristics of these oversea eco-fashion brands can be summarized as follows; community and fair trade, ecological and slow design, recycle, reuse, redesign, and new eco-models. Firstly, brands of 'community and fair trade' manufactured products through fair trade and local community's artisan by ethical practices with organic fabrics. Secondly, brands of 'ecological and slow design' pursued timeless design and multi-functional design as luxury eco-fashion styles. They used organic textiles, hemp, bamboo, soya, tencell, sea cell, and self-sustaining plants. Thirdly, brands of 'recycle, reuse, redesign' aimed for upcycling high-end fashion and used vintage clothes, textile scraps, PET, parachutes, tires, safety belts, advertising banner and so on. In addition, brands of 'new models as eco-fashion' suggested zero-waste cutting, recycling over-printing technology, new sustainable business model, and ethical practices in the supply chain of the fashion industry.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.294-301
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• 2013

Sustainable fashion & textile is more than eco fashion & textile with the concepts for the next generation's happiness, prosumer value, and community responsibility. This study considers methods to enhance fashion and textile industry sustainability in accordance to clothing types (material, product life and washing properties) and to investigate company strategies. Company strategies are of redesign with stock, volunteering & measuring trash amount, participation by evaluation stores, clerk environment education, hiring QC specialist and reinforcing partnerships. For the case of daily innerwear, throwing away and recycling is more efficient for the environment than laundering in the consumer use stage; subsequently, we recommend the use of polypropylene fiber (a cheap and an eco-friendly material) for this item that can be recycled and reformed after use. For the case of single layer clothing (such as sportswear, blouse or pants) we recommend the use of thermoplastic materials with welding or fuse assembling technology instead of a sewing method of seams as well as the recycle design that is simply melted and reformed into new clothing without an after use dissembling process. Secondhand use or resale is suitable for denim/jean items if the clothing has a storytelling or private history tag. Lastly, module-type jacket or coat shows the variety of styles with one clothing worn w/o collar or sleeve details and changed into vest/coat; in addition, it is possible to add or partly tear off some jacket/coat fibers of the felt material to reform it into a new design.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.75-81
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• 2021

With the development of advanced information and communication technology, Generation Z, familiar with digital culture, is drawing keen attention as a major consumer of the fashion industry. In this study, casual wear for Generation Z, who is proficient in digital devices and prefers information acquisition and lifestyle over the Internet, was designed using 3D virtual simulation and developed into four looks: Gulish, Sportive, Easy and Contemporary. The use of simulation of 3D virtual clothing in costume design can build digitalization of future fashion industry through convergence with digital fashion design planning and production process in fandemic environment and strengthen online platform distribution. In a business environment that continues to innovate to enhance work efficiency by introducing an Untouch fashion production system, the use of 3D virtual clothing technology can increase the efficiency of sustainable management through 3D sample production, online fitting, modification, and final critic processes to reduce the time and cost of human and physical resources and review.