• 복식문화연구
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• 제29권3호
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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.

• 복식문화연구
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• 제30권5호
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• pp.732-751
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• 2022

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of "futurism." Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

• 복식문화연구
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• 제15권5호
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• pp.796-809
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• 2007

The viewpoint of growth pursuit is changed to that of life quality's and happiness' pursuit by modern people. Modern people in digital environment, tired of fast-changing and oppressive daily life, prefer well-being trend providing tranquility and relaxation. Well-being is related to digital, because negative influences of digital lead human-oriented, environment-friendly well-being design. Therefore the purpose of this study is to research and analyze the relation of well-being fashion design and digital environment through case study in contemporary well-being fashion design. The results of this study are as follows: 1. This study shows that the attributes of digital environment make up function-intensive, interactivity, mobility & nomad, human & emotion-oriented and environment-friendly. And this study shows the design characteristics of digital environment consist of function-intensive design by digital convergence, open structure design for interactivity, modular design for mobility & nomad, emotion-oriented & multi-sensory design and environment- friendly design. 2. Function-intensive design in modem well-being fashion composed of vogue of caports style(casual+sports), practical use of multi-functional new-healthy textiles, and popularity of many style's mixture at once. Open structure design consist of wrapover design, use of transparent materials. Modular design are layered styling, practical use of zipper and velcro. Emotion-oriented & multi-sensory design are constitute of fad of wrinkle materials, application of bright & vivid tone, personal color and family look. Environment-friendly design in contemporary well-being fashion are comprised in use of natural color, re-advent of natural floral motif and eco-design.

• 복식문화연구
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• 제10권3호
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• pp.293-305
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• 2002

This paper describes the new trends of fashion industry in the era of digital media and Internet paradigm, where fashion is no longer just static contents. Fashion becomes crucial and dynamic contents for infotainment, mobile Internet, and digital media. As therefore, the fashion industry could be positioned as fashion information industry and key elements of fashion communication. In the future, fashion education should be repositioned as dynamic Intermediary not only for traditional textile design, costume design, and merchandising, but also for dynamic fashion information provider, fashion communication and fashion-oriented media related to digital Information, and Internet. As a case study, we briefly describe the successful co-marketing strategies of world-class luxury fashion brands, fashion media, and Internet service provider.

• 패션비즈니스
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• 제27권4호
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• pp.67-87
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• 2023

This study analyzed the fashion design features of Iris van Herpen and createdsixdigital fashion designsusing the SCAMPER technique with 3D clothing design software, incorporating a futuristic theme. The research methodology involvedcase analysis and a literature survey. First, the study summarizedthe design style and characteristics of Iris van Herpen. Second, a design concept wasestablished, and a design mood board wascreated. Third, the resulting design features were combined with the SCAMPER technique to incorporate Iris van Herpen's design elements intonew digital fashion designs. Fourth, after discussion with the professor and expert group, six designs were selected for production. They includededgy suit coats, overcoats, asymmetrical hoodies and asymmetrical skirts, irregularly shaped tops, dresses, leggings, jackets,and fishtail skirts. This study provides a reference for the future development of digital fashion designs and showcases the integration of science and technology in fashion design.

• 한국컴퓨터정보학회논문지
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• 제28권10호
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• pp.17-25
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• 2023

본 논문에서는 의류 디자인 도면 이미지의 글자 검출을 위한 경량화된 딥러닝 네트워크를 제안하였다. 최근 의류 디자인 산업에서 Digital Transformation의 중요성이 대두되면서, 디지털 도구를 활용한 의류 디자인 도면 작성이 강조되고 있으며, 디지털화된 의류 디자인 도면의 활용 가능성을 고려할 때, 도면에서 글자 검출과 인식이 중요한 첫 단계로 간주된다. 이 연구에서는 기존의 글자 검출 딥러닝 모델을 기반으로 의류 도면 이미지의 특수성을 고려하여 경량화된 네트워크를 설계하였으며, 별도로 수집한 의류 도면 데이터 셋을 추가하여 딥러닝 모델을 학습시켰다. 실험 결과, 제안한 딥러닝 모델은 의류 도면 이미지에서 기존 글자 검출 모델보다 약 20% 높은 성능을 보였다. 따라서 이 논문은 딥러닝 모델의 최적화와 특수한 글자 정보 검출 등의 연구를 통해 의류 디자인 분야에서의 Digital Transformation에 기여할 것으로 기대한다.

• 한국의류학회지
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• 제39권2호
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• pp.233-246
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• 2015

Focus on Digital Fashion Image, the conceptual framework for the thesis is established from Virtuality in Digital Art. Formative characteristics and aesthetic characteristics were studied by classifying the Digital Fashion Image applied and expressed by digital media and technology. A detective research method was used for a case study. A literature study for case-by-case data was analyzed with focus on the works expressing fashion that utilized digital media and technology since the 2000s. Through this study, the Digital revolution has created the socio-cultural impact of a Virtual representation to implement technology and fashion culture that finds ways to take advantage of the image shown in a Digital Fashion Media by understanding Virtuality. The results are as follows. First, it was a re-formation of the fashion culture through the experience of virtuality with mental zone parameters between the media 'Mediation Code'. Reflect the reality of the virtual environment as represented by a cultural image of fashion brands and fashion that reset the team relationship and formed a Homo Ludens cultural code. Second, 'Interactive Exchange' acts on the exchange interaction between the method of digital technology, the human and the machine as well as the technical interoperability of network elements and techniques. This exchange is applied to fashion images that express emotion. Forming personalized fashion items and the user interactively storage that expresses the interactive exchange to forward the identity of the emotional fashion by a change in the message delivery system fashion. Third, the emphasis on intuitive artistic expression 'Synesthesia Immersion' induces a sense of immersion and excitement through the fusion of the interconnected. Enhance a visual image in fashion sensory representation and maximize a tactile and visual virtual reality involvement.

• 복식
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• 제63권8호
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• pp.43-57
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• 2013

The purpose of this research is to systemize the fashion digital storytelling by analyzing the communication method and its elements, and extracting the characteristics and processes of digital storytelling. Based on the previous study on the characteristics and types of storytelling the following things have been researched: 1) the process of digital storytelling in the communication process, 2) the concept and the feature of the academia of digital storytelling 3) storytelling in the document research. On the groundwork of the document research, we were able to sort out the various types, and formed a system of the features in the fashion digital storytelling cases, mainly in the four collections (Milan, Paris, London, New York) from 2000's to recent years of 2010. The types of fashion digital storytelling are episode type, narrative type, and creative type. The characteristics of each of the types are as follows. Firstly, the episode type communicates through the digital media based on the information or fact of the fashion designer brand. Secondly, narrative type communicates with the consumers using previous literature or an existing idea of the original cultural form that is rearranged in digital story expressed by the digital media. Lastly, creative type makes the designer's and consumer's susceptibility and creativity communicate through the newly made story, which expresses the unique originality of the designer. It seems that the cases and studies of using the fashion digital storytelling will increase because of its short history and lack of the case study. Fashion designer brands will show their brand image using the digital storytelling because they are able to better express originality, creativity and imagination of the fashion designer, which were factors that could not be conveyed through fashion alone.

• 한국의류산업학회지
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• 제21권4호
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• pp.420-431
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• 2019

This paper evaluates the potential of dynamic graphical patterns in future-driven fashion design using computer graphics that enables changes to the visual appearance of a textile for aesthetic, expressive or communicative purposes. In particular, it focuses on experimenting with the possibility of creating digitalized dynamic fashion garments that are illustrated digitally using motion graphics developed collaboratively in a virtual space. Three objectives were formed and addressed. First, a dynamic graphical pattern was defined that also investigated the cases of tangible and virtual dynamic patterns in textiles and garments to identify current situations and future prospects in terms of functional techniques and expressive effects. Ten digital fashion illustrations were then created in collaboration with a group of graphic designers and motion artists to visualize dynamic graphical patterns changing over time. Four types of dynamic fashion illustrations were also introduced in their methodological and expressive aspects. Last, some findings resulted from digital works that led to implications for future studies on tangible dynamic fashion designs. This study proposed that computer graphics and digital imaging technologies integrated into a virtual fashion that creates eye-catching and futuristic dynamic fashion designs that can customize colors and patterns according to the desires of wearers or users.

• 복식문화연구
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• 제23권4호
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• pp.554-568
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• 2015

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight's digital films, "Sans Couture", "#asif", and "The Elegant Universe" and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.