• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.707-716
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• 2000

The purpose of this study was to explane the Net generation's characters appearing in the apparel brand naming for them. For this study, first I was trying to explane the New generation characters, second 45 apparel brands were selected by market research and questionaire survey was conducted on 53 the Net generation collage women of age 20 thru 21. Third, the apparel brands were classified into four types according to the characters reflecting in the apparel brand naming : First, the apparel brand type using the figures such as STORM=292513, 1492Miles. Second, the apparel brand type that two or more words are abbreviated into one word. Third, the apparel brand type containing more than one meaning in a brand naming or spelling the words as it pronunciate. Fourth, the apparel brand type using of slang. In conclusion, These types of the apparel brands were related to characters of the New generation, i.e., they who have grown in the advance of digital civilization are skilled in the communication through computer, internet and mobile phone, so that they are familiar with the figures, combined words, or abbreviated words etc. Also, they have individual, sensitivity character and seek after individuality, current fashion. They have also a tendency to accept various the sense of value, while they have a refusing tendency a custom or convention which the older generation has conformited.

• Journal of Fashion Business
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• v.21 no.4
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• pp.1-20
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• 2017

Fashion film has become a significant communication medium in the $21^{st}$ century. Fashion film, that tells unique quality stories, is a means of communicating brand value emotionally. To examine characteristics of storytelling according to types of fashion film, this study categorizes fashion film and investigates storytelling elements in terms of content, form, and communication. For methodology, a literature review was conducted to examine the concept of storytelling and types of fashion film storytelling. Empirical research was conducted on 32 fashion films from 2007 to recent years of 2017. Results are as follow. First, theatrical fashion film, based on linear narrative structure and closed-ending, is characterized content-based storytelling. Second, avant-garde fashion film, based on unconventional and experimental cinematic techniques, is characterized form-based storytelling. Finally, documentary fashion film that minimizes distortion and reproduces reality of designers' originality, refers to interactive communication-based storytelling which using digital technologies.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.855-870
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• 2018

This study analyzes and categorize the types of digital signage content using the case study method as well as explores the moderating effects of digital signage content in the relationship between digital signage attributes and consumer's flow using the empirical study method. For a case study, the total of 38 fashion brands, including 10 designer brands, 14 sports and outdoor brands, 6 casual brands and 8 SPA brands were investigated. For an empirical study, the virtual store with two types of digital signage contents was developed. Then, the online survey was conducted with 20s to 40s respondents and a total of 544 responses were analyzed using SPSS 24.0. The study results were as follows. First, digital signage in fashion store were categorized into four types by its content; brand-centric type, product-centric type, compound type, and promotional type. Second, digital signage consists of three attributes such as attractiveness, informativity, and entertainment. Third, the results showed that attractiveness and entertainment had a significant effect on consumer's flow. The type of digital signage content was also shown to moderate the influence of attractiveness and consumer's flow.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.124-138
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• 2016

The present study observes collaboration methods in which 3D printing was a part of the fashion manufacturing process, expression methods of such cases, and their ripple effects. As a result, the three types of collaborations between fashion designers and other industry fields, fashion brands and 3D printing companies, and fashion designers and artists. Case analysis results and ripple effects found according to each collaboration method were as follows. First, in collaborations found were between fashion designers and other industry fields, 3D printed fashion works with futuristic images were seen through the fusion of future industries, which claim to support cutting edge digital technology, and creative fashion design. As they were mainly collaborations between automobile industries with cutting edge images or digital related industries and fashion designers, they were expressed as a new form of experimental clothing, and were used as strategies to improve future corporate images of the high tech industry. Second, in collaborations between fashion brands and 3D printing technology businesses, the sporting good brands and the shoe industry attempted to let their products be known through the promotion of functional material or ergonomic technology. While they emphasize practicality by mainly using flexible material, they were mainly proposed as functional sporting goods for famous players or as shoe accessories, so methods are still used for public distribution as brand promoting marketing strategies. Third, with collaborations between fashion designers and artists, creative pieces were shown through the grafting of 3D printing technology, the artistry of artists, and the experimentation of fashion designers. In particular, the innovative value of fashion as art was created through the union of the artistic 3D modeling technology support of artists and the creativity of designers. Like this, 3D printing fashion can graft the cutting edge nature of fashion to other industry fields through collaborations, enhancing pacesetting images, and in the fashion field, it can improve possibilities for innovations in the fashion industry through the support of 3D printing technology businesses and artists, raising expectations towards future human living.

• Journal of Fashion Business
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• v.12 no.5
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• pp.39-53
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• 2008

Today is a 'high concept' era in which consumers make sensible consumption that shares a sensible bond with a brand. Therefore, it is important to analyze consumers' aesthetic awareness; namely, fashion feeling in the fashion industry. This study conducted research into a fashion design planning process according to a fashion feeling focusing on computer graphics suited to the 21st century digital trend. First, the study classified a fashion feeling with eight senses including elegance, classic, modern, mannish, sporty, avant-garde, ethnic, and romantic feelings. Second, the study made an image map, color map, material map, and style map with Adobe Photoshop CS3 by dividing a fashion planning process with a computer graphics program. Also, the study made a flat illustration with Adobe Illustrator CS3. Third, the study proposed the image map, color map, material map, style map, fashion illustration and flat illustration in the design planning process under the theme of the aforementioned eight fashion feelings.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of Fashion Business
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• v.21 no.4
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• pp.34-43
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• 2017

Paperweave wallcoveing is necessary to develop new designs based on the analysis of global trend and reflection of Korean traditional image to improve commercial value in the worldwide market. The purpose of this study was to understand design trend and share valuable data by product analyzing of major paperweave wallcovering brands - Yeomyung (Korea), Phillip Jeffries (USA) and Omexco (Belgium). In the dominant color, the largest proportion is YR. Analysis of each brand color, Omexco is using the widest range of colors, the colors of each brand uses an exclusive of its own brand compared to other brands are Green (Yeomyung), Blue (Phillip Jeffries), Red (Omexco). The number of colors, Yeomyung and Philip Jeffries have a high ratio of bi-color, Omexco is revealing various color expression methods such as 55% solid color, two or three multi-color are each half of the balance. Analysis of weaving, Yeomyung has a high ratio of balanced plain, at number of mixture, Yeomyung and Phillip Jeffries are using mostly paper-yarn but Omexco is using multi-mixture materials in some part of theirs. Regarding analysis of finishing, all three brands are mostly selling unfinished paperweave wallcovering but some solid coated are appearing at Yeomyung and Omexco. Yeomyung has more foil transfer compared with the other brands, Phillip Jeffries has some digital printed products.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.2
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• pp.282-299
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• 2024

This study aimed to examine the impact of virtual influencers' characteristics on purchase intentions through attitudes toward the influencer and the brand, and to identify which factors are important depending on involvement. We used a scenario-based online survey of 320 female consumers in their twenties and thirties, and analyzed their responses through structural equation modeling using AMOS 21.0. Virtual influencers' attractiveness, reliability, familiarity, and virtuality had significant effects on consumers' attitudes toward those influencers, while their attractiveness, familiarity, and virtuality had significant effects on consumers' brand attitudes. Notably, in contrast to the other variables, virtuality had a negative effect. In addition, consumers' attitudes toward the virtual influencer significantly affected their brand attitudes and purchase intentions. We also analyzed which characteristics had significant impacts on high- and low-involvement groups. We found that reliability had the greatest influence on purchase intentions in the high-involvement group and that familiarity had the greatest influence on purchase intentions in the low-involvement group, which confirmed that the variables affecting purchase intentions differ depending on the level of involvement.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.415-423
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• 2017

This study explored research trends by investigating articles published in the Journal of Korean Society of Fashion Design from 2001 through 2015. English key words and abstracts were analyzed using text mining and topic modeling techniques. The findings are as followings. By the text mining technique, 183 core terms, appeared more than 30 times, were derived from 7137 words used in total 338 articles' key words and abstracts. 'Fashion' and 'design' showed the highest frequency rate. After that, the well-received topic modeling technique, LDA, was applied to the collected data sets. Several distinct sub-research domains strongly tied with the previous fashion design field, except for topics such as fashion brand marketing and digital technology, were extracted. It was observed that there are the growing and declining trends in the research topics. Based on findings, implication, limitation, and future research questions were presented.

• Fashion, Industry and Education
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• v.16 no.1
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• pp.46-55
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• 2018

The purpose of this exploratory study was to enhance the understanding of how brands tilize emojis in their marketing practices. A content analysis was conducted utilizing Google News as a search tool to access articles containing information pertaining to the use of emojis by brands. The combination of keywords used for the search were "emoji", "business", and "marketing". The search was narrowed down to the period of January $1^{st}$, 2014 - November $29^{th}$, 2017. This method generated a total of 604 trade publications with 55 of them providing information pertaining to specific brands and their use of emojis in their marketing strategies. A content analysis of trade publications has revealed that a variety of marketers have utilized emojis in their brand marketing practices. The entertainment, service, and food/drink industries have predominantly utilized emojis in their marketing practices, and their primary purpose for using emojis was to increase consumer engagement. Brands applied most of these emoji marketing strategies to an online or digital setting, whether it was social media pages, mobile applications, or any other form of computer-based marketing. Although there are limitations to this exploratory research in terms of its methodology, the findings of this study provide interesting insights into the potential of emojis as a marketing tool.