• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.29-43
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• 2020

This study investigated the luxury supply chain management called 'See now, Buy now'. This has been a new way of controlling the supply and demand for luxury brands in the fashion industry since 2016. In this study, we explored the backgrounds and impacts of 'See now, Buy now' in the digital era. 'See now, Buy now' was launched by the fashion brand, Burberry in February 2016. It was the first luxury brand to showcase its entire collection using 'See now, Buy now' among the brands which showcase in Paris, Milan, New York, and London fashion weeks. That has not only caused many controversies in the fashion world but also generated followers. In this study, we analyzed 'See now, Buy now' in three aspects, economics, efficiency, and management strategy, and this was done through a literature survey on articles pertaining to 'See now, Buy now' and empirical surveys on Burberry's collections. Based on 'See now, Buy now', Burberry tried a new process of supply and sale. In the era of SNS, the spread of information is getting faster. The speed of SNS and changes in the fashion market combining IT and mobile technology are major changes faced by the fashion industry. 'See now, Buy now', a model of the new supply and demand in luxury fashion brands, should be noted as a new directional aspect for the future of the fashion industry. Since it was a relatively recent trend that started from the September show of Burberry in 2016, there was still a lack of academic discussion or prior research on this phenomenon. Therefore this study aimed to predict future directions by recognizing the importance of 'See now, Buy now' in the fashion industry. Also, based on this research, the significance of this study was to present a management strategy that applies 'See now, Buy now' to the future of the fashion industry in the digital era.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.64-79
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• 2010

The digital era in the 21st century is globalized and is collapsed boundary among countries, thereby being able to be said to be characterized most largely by proceeding with being a form like a federation and EU. A change into digital era brought about a change in all the aspects of human behavior and culture, not a change simply in temporal significance and technological significance. In recent days, all the services came to be possibly used the integrated device with the same network owing to innovation of communication technology, which is represented by digital, network, and internet. Now, the broadcasting industry, computer industry, and communication industry are exceeding the peculiar sphere by being mutually merged. Each of industrial sector centering on internet is showing the phenomenon of being united. The hybrid trend, which was formed by phenomenon in the complex digital media society, tended to be indicated in fashion and makeup design. As the digital media era was generated, the hybrid trend induced a change into society in open and horizontal idea. It came to be known that there is independent trend in each field even while organically working in the middle of the whole frame that fashion and makeup express a human being's external beauty. This implies that makeup is not what is always influenced by fashion as an accessory in fashion and a supplementary role, but what can show its contrary phenomenon. This study examined characteristics, which are shown in fashion and makeup due to hybrid influence with greeting the digital media era. This study was carried out in order to be conducive to objective data available for giving help to the future direction and marketing data in product of the relevant businesses, through the results of this study.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.135-148
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• 2016

This study aimed to understand whether or not academic outcomes in digital studies shown in detailed field of costume were generated appropriately according to the development of digital technology by analyzing contents of studies in the digital-related studies, which were conducted with a background of the digital age. First, as a result of frequency of digital-related theses by the age of 'Internet Age(1994-2000)', 'Digital Age(2000-2009)', and 'Smart Life Age(After 2010)', which were classified according to the digital environmental changes, the number of theses increased drastically based on the transition point of each age. Second, representative keywords that appeared in each age included 'digital' and 'Internet' in the Internet Age, and 'digital', 'smart', 'Internet', '3D', and 'wearable' were shown in the 'Digital Age' and 'Smart Life Age'. Third, results of analysis according to the field of costume show that relevant studies were conducted in three fields of marketing/information, clothing construction and fashion design in the Internet Age, whereas the Digital Age produced relevant studies in all fields, and Smart Life Age was characterized by increase in studies in the field of fashion design and clothing construction. Fourth, results of analysis according to the contents of study show that relevant studies in the Internet Age were shown only in two subjects of 'preliminary study and trend of study' and 'studies using technical programs', and 'preliminary study and trend of study' decreased, but relevant studies in other fields of subject increased in the Smart Life Age. As shown above, relevant studies appeared as various subjects in many different detailed fields of costume in costume studies according to the stream of the Smart Life Age, which is growing fast recently, and is considered an inspiring result for development of studies in the field of costume according to the environment of the age.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.4
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.45-54
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• 2013

With the development of digital technology, clothes of unique textiles using the digital printing techniques have appeared as a creative trend in textile design. The development of digital textile printing technology has allowed the fashion industry to utilize it as an expressive method of a surrealist trend in current fashion designs, and so it is necessary to understand and study this phenomenon. The present study is an attempt to understand this modern fashion phenomena from an artistic perspective by looking at textile designs that applied actual images to textiles, so that this trend in fashion design can be better understood. In this context, this study aims to examine characteristics and expressive techniques of d$\acute{e}$paysement, automatisme associated with digital textile printing by using actual images among surrealist expressions, and to investigate creative expressions of textile design freely expressing the visual boundary between reality and surrealism with the development of digital technology. For research methods, we reviewed technical texts and previous studies related to our research topic for theoretical exploration and investigated the Internet data and used them for basic data. In the case study, we came up with the characteristics and meanings by classifying fashion design cases using digital textile printing techniques according to expressive techniques of surrealist d$\acute{e}$paysement, automatisme. Details of this study are as follows: First, it investigates the definition and expressive characteristics of d$\acute{e}$paysement, automatisme of the surrealist expression for its theoretical understanding. Second, it comes up with the characteristics by analyzing the digital textile cases from the perspective of d$\acute{e}$paysement, automatisme. Third, it deduces the expressive methods and characteristics of digital textile printing from a the perspective of surrealist d$\acute{e}$paysement, automatisme based on the resulting characteristics. The conclusions show that d$\acute{e}$paysement, automatisme, which consists of improvisation and coincidence, maximized the mysterious images of derealisation and mysterious primitive images. These things emphasized the characteristics of maximization of images, derealisation, and rationalization of irrationalism.

• Journal of the Korean Society for Library and Information Science
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• v.35 no.4
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• pp.217-238
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• 2001

As an exploratory study, the purpose of this study was twofold. First, to show the process for developing a pathfinder with for assessing how the end users analyze a pathfinder ("a usability test"). Second, to provide a pathfinder for fashion marketing fields. Organised especially for students of the Fashion Graduate School in Dongduk Women's University, this pathfinder included books, periodicals, Internet web sites, online stores, brands, and apparel organizations. Participants in the test evaluated the pathfinder with medium to high grade in terms of contents, classification, and quantity of resources. In particular, they acknowledged the usefulness of a pathfinder. The results could provide helpful guidelines for the design of pathfinders. In addition, this publication provides additional information that focuses on fashion marketing fields.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.600-615
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• 2009

$21^{st}$ century post digital society orients co-existence, fusion, and blurring boundary than conflict, differentiation, and boundary, and makes a try liberal combination of various different objects. Furthermore, radical development of science and digital equipments offer technical possibility that could combine various fields. Hence, many different departments demolish their boundary, and combine for development of multi-functional and complex shape's products. For job-nomads, fashion attempts to combine with architecture, furniture, daily necessities, and digital equipments spontaneously. This paper aims at consideration about the blurring phenomena expressed in complex fashion space of $21^{st}$ century throughout empirical fashion photographs analysis, which show combination among fashion and various different fields. Blurring boundary phenomena of complex fashion space are classified with 4 parts as follows as: 1) furniturizing, 2) wearable dwelling, 3) lumiduct, 4) becoming fashion. Each parts are examined 8 aesthetical characteristics such as movement and lightness, hyper-link and openness, immateriality and inter-activeness, and diversity and ambiguity. $21^{st}$ century fashion has changed more simple and light, and creates new form throughout combination with many other fields, and enlarges its function and sphere. I think this paper would help certificating practical use of fashion space as multiple and complex space, and makes contribution to forecast about fashion development of the future and offer inspiration about creative and innovative fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• Journal of Fashion Business
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• v.12 no.6
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• pp.138-151
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• 2008

This study aims at providing comprehensive data which would be helpful to establish a web shopping mall by analyzing the structure of web fashion star shops which have recently emerged as a result of advances in digital technology and communication. For the purpose of analyzing VMD strategy used in web fashion star shop, we adopt both of the documental and empirical research methods, based on which we examine the concept of E-commerce and current business situation of web fashion star shop industry, and then analyze the main page, product category page and product detail page in a star shop featured by a male pop star within a web shopping mall. According to our analysis of the structure of web fashion star shop, in case of open market, a banner with star's image on it leads to star shop when people click on the link of the banner, and in case of independent mall, they show each star's unique style in the main page. Product category page is linked to each product detail page which presents items of various fashion coordinates, satisfying needs of consumers to follow star's trendy fashion sense.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.