• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.803-811
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• 2020

This study investigates the management of clothes and the perception of up-cycling fashion based on university students majoring in fashion. Results based on 124 survey participants are as follows. First, students prioritized design when buying clothes and regarded texture as important for material. In managing clothes, male students emphasized durability; however, female participants checked fluff occurrence. Second, more than half of the respondents knew what up-cycling fashion was; overall, female students were more aware of up-cycling fashion than males. Few students purchased up-cycling clothes; however, many were willing to buy up-cycling clothes for eco-friendliness, which implies that they understood the relations between up-cycling fashion and environment. Third, pertaining to the perception of SPA fashion, students were highly satisfied with the accessibility of SPA brand stores. The group of students who knew up-cycling fashion were more satisfied with SPA brands and indicated o correlation between the cognition of up-cycling brands and preference for SPA brands. Last, in terms of the perception of environment and clothing, university students majoring fashion recognized the need for environmental protection; however, they did not emphasize environment when purchasing or managing clothes.

• Journal of Fashion Business
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• v.27 no.6
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• pp.147-159
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• 2023

Fashion is the second most polluting industry. We must strive to transition to a form of industry that does not cause environmental pollution. These efforts drive may fashion brands to produce and sell products with redesigned methods that delight the inventory flow. Accordingly, it is necessary to develop creative apparel up-cycling design using the creative thinking method. This study aims to produce clothing redesign works by introducing design idea types for systematic redesign creation. In this research, we conducted a literature review on the concept of up-cycling design and employed heterotopa spacial concept reflected fashion design creation methodology types. The RE;CODE, a leading domestic up-cycling design brand, was used in case analysis. According to the command of shape transformation, it is spreading, stacking, dropping, inverting and crossing, from the creative thinking method reflecting heterotopia spacial concepts, showing designers a concrete way to transform form into new apparel. Seven works of apparel up-cycling design were developed by conducting process of RE;CODE. Also, to establish an apparel up-cycling design creation process for creating works. In this study, we proposed a systematic method for apparel up-cycling design, including a method for reorganizing two or more different materials to create something new and ultimately reversing the structure. The value and significance of this study is that it proposes a systematic method for apparel up-cycling design to make it new.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.153-163
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• 2019

This study is designed to present a direction for the development of an up-cycling design applied with Hangeul calligraphy on outdated clothing materials, and recreating them as eco-friendly high value-added cultural products. The results of this study are as follows. First, Hangeul calligraphy enhances creativity and scarcity by expressing an unformatted analog sensibility in the digital era and further emphasizes the differentiated high value-added aspect of the products. Second, the characteristics of the up-cycling design products represent eco-friendliness, handcrafting, non-fabrication, originality, scarcity, storytelling, and customization. Third, the author made 11 up-cycling cultural products using Hangeul calligraphy, applying it to discarded jeans and pieces of cloth. Fourth, the phases of making cultural products are divided into planning and production. In the planning phase, items and materials are decided upon, design sketches are made, and in the production phase the items go through partial dismantlement, separation, reconstruction, collaboration, and the application of calligraphy printing. Along with the beautiful and lyrical sensibility of Hangul, it was shown that up-cycling using Hangeul calligraphy, which has excellent originality and practicality of design, can be expanded to a variety of cultural products.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.295-308
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• 2012

This study intends to analyze the up-cycling trend that is attracting great attention these days and its internal meaning in the context of fashion art. And, based on this, to provide enhanced value and creativity in the future fashion artwork and design businesses, keeping abreast of further fashion art developments. As part of the study methodology, both a literature review and a case study were carried out, along with an examination of up-cycling and research into related pictures and content. The materials covered in this work include design and fashion related books and domestic and foreign magazines from 2000 to 2011, when the up-cycling movement was initiated as a form of eco-friendly design. For the analysis of fashion art pieces, generic terms included art wear, wearable art wear, and unwearable art. Case review was followed by the works of artists shaping their fashion concept and meaning entirely from abandoned clothes and fabrics, waste materials, and their art collection. Consequently, key elements of the value of up-cycling fashion art are that it is eco-friendly, has a unique identity, and reflects multi-dimensionalism. This research saw the integration of fashion with other variables, artistic attributes, and reuse of resources. This could lead to a new realm where value-addition is formed and extended, thus providing another chance for the fashion industry.

• The Research Journal of the Costume Culture
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• v.29 no.3
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• pp.374-387
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• 2021

The purpose of this study is to develop up-cycling fashion design methods centered on discarded denim material for the study of original up-cycling design methods. Up-cycling fashion design work was developed using digital clothing technology. This is a recent hot topic among sustainable fashion design methods. Up-cycling fashion design expression methods (categorized as dismantlement, collages, dépaysement, grafting, weaving, and tearing) were centered on design methods. These methods create various three-dimensional modeling effects in planar forms, whereby five pieces can be applied to the fabric and digitally produced. The results are as follows: First, the use of discarded denim fabric for the development of up-cycling fashion design pieces enabled the recycling of existing resources, provided solutions to environmental pollution problems, and provided expansion opportunities for design processes for sustainable fashion products that expand the design value of denim products and their utility. Second, new eco-friendly fashion designs that attempt to achieve diversity in modern fashion trends could be presented through formative contemporary fashion produced by up-cycling work products. Third, up-cycling fashion design work is expected to provide opportunities for eco-friendly fashion design methods. This will expand the value of sustainable fashion design by recycling simple waste materials through the use of three-dimensional digital clothing technology and further through the presentation of expanded life cycles that extend product planning, production, and life cycles.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.138-154
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• 2014

The purpose of this study was to propose up-cycling fashion designs, based on guidelines derived from up-cycling fashion brand products and their required elements of the design. The study thus categorized required elements into environment, significance, economy, function, design, and material, then extracted a set of design guidelines. The guidelines for waste resource-based up-cycling fashion design include the followings: First, authenticity, taking mutual environmental relations into account. Second, rarity of products beyond the domain of standardized ready-made goods thanks to manual operation. Third, storytelling, reflecting the consumer history. Fourth, sustainability to signify the circulation of matters. Fifth, experimental characteristic to fulfill creative innovation. Sixth, changeability through interactions with wearers. The investigator decided design concepts based on them and created up-cycling design works with waste plastic bags, shirts, stockings, neckties, outdoor mats, and backpacks in a variety of formative expressive techniques.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.216-226
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• 2015

This study identifies factors of perceived risk of up-cycling fashion products and investigates perceived risk factors that influence consumers' trust, purchase intention, and recommendation intention towards upcycling fashion products. We also examine the relationship of trust, purchase intention, and recommendation intention for upcycling fashion products. A qualitative research method using a free narrative form and depth interview were used. The perceived risk from up-cycling fashion products generated 5 factor solutions: aesthetic risk, sanitary risk, social risk, performance risk, and economic risk. Next, 201 effective data were collected from a questionnaire survey and analyzed with SPSS 22.0. The results are summarized as follows. First, aesthetic risk and performance risk had a negative effect on products. Second, aesthetic risk and performance risk had negative influence on purchase intention for upcycling fashion products. Third, performance risk had a negative impact on recommendation intention for upcycling fashion products. Fourth, trust had positive effect on purchase intention and recommendation intention for upcycling fashion products. The results of the current study provides various theoretical and practical implications for marketers and retailers interested in up-cycling fashion products.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.486-502
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• 2018

Mass-production caused by industrialization has led to environmental pollution; however, a potential solution to this problem is the Up-cycling fashion design belonging to the sustainable design category. This study analyzed the material characteristics of each brand fashion product by selecting 21 domestic Up-cycling fashion brands. The product types manufactured by domestic Up-cycling fashion brands could be divided into fashion clothing, bag, and fashion accessories. The materials used for each item included special material, waste fiber, waste leather, waste paper, and others. In the results of analyzing the material characteristics into the external characteristics and internal characteristics, the external characteristics included the durability with less abrasiveness and deformation as well as a mixture with other different materials, while the internal characteristics included a story arousing consumers' empathy, and scarcity without the same design due to the limitation of material.

• Journal of Korean Society of Environmental Engineers
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• v.37 no.3
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• pp.159-164
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• 2015

This study investigated the environmental risk for up-cycling of air-cooled ladle furnace slag (LFS) and evaluated the mortar compressive strength of binary and ternary blended cements using LFS of 3, 5, 10 wt%. Based on the Soil Environment Conservation Act standard, there was no environmental risk of the up-cycling of LFS. Results of mortar compressive strength assesment showed that the compressive strength of two blended cements using LFS of lower than 5 wt% was about 1.1 times superior to that of un-substituted cement (ordinary portland cement, OPC); however the compressive strength of those with LFS of 10 wt% decreased with 10% compared with that of OPC.