• Journal of Fashion Business
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• v.21 no.2
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• pp.1-15
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• 2017

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today's fashion can be explained as follows: First, 'virtual reality', which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, 'form transformability', which is often found in fashion products, promotes customers' purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, 'integration of different fields', which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, 'interactive responsiveness', which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.

• The Research Journal of the Costume Culture
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• v.21 no.6
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• pp.793-809
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• 2013

This study examined the trend and aesthetic value of image fashion of the 21st century through empirical case study with image media as fashion communication tool. This research is intended to provide the basic material for both better comprehension of image fashion as emotional medium in the modern fashion and more activated research on interactivity and communication in the fashion communication area by examining how fashion designers deliver their design philosophy, thought and vision via image fashion. For the research method, the theoretical study was realized about image media and fashion communication with focus on related literature and precedent research. Also, the empirical study was performed about image fashion covering 2005 through 2012 by the group of fashion film, fashion animation, and video look-book. Fashion image in the research was developed into various layouts that include the story based or non-story based creative images, many kinds of episode or behind-the-scenes story in the prep course of collection, designer's personal life or product world, or re-cutting course after collection. It also played a communicative role for public relation of new product ad, concept conveyance of seasonal collections, means as online collection to substitute for the existing offline collections, and better understandings of designer or fashion brand. Aesthetic values derived from case analysis of image fashion in the modern fashion of 21st century appeared in the form of trans-boundary as convergence art, fantasy in harmony with virtuality and reality, and interactivity among the humans, image media and fashions.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.618-630
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• 2013

This study investigates the influence of consumption value on attitude and the repurchase intention of secondhand fashion goods. In addition, this study examines the effect of consumption value on attitudes according to self-confidence in fashion coordination. Questionnaire data from 220 university students who made purchases of secondhand fashion goods were analyzed. The results were as follows. First, there were 5 factor solutions for the consumption value of secondhand fashion goods: rare value, emotional value, functional value, social contribution value, and economic value. Second, rare value, social contribution value and economic value had a positive impact on the attitude toward secondhand fashion goods. Third, attitude had positive impact on the repurchase intention of secondhand fashion goods. Fourth, there was a significant difference in the magnitude of the effect of consumption value on attitude according to self-confidence in fashion coordination. The results of this study provide various guidelines for marketers or retailers who are interested in secondhand fashion goods.

• Science of Emotion and Sensibility
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• v.26 no.3
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• pp.69-82
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• 2023

High-tech sensibility textile and fashion, in which consumers' emotions and various textile and fashion technologies are converged, is an important industrial group. It is important to develop the ability to apply in practice by gathering the creative by understanding other fields and exchanging ideas through interdisciplinary collaboration in the field of emotional engineering. Through interdisciplinary research and collaboration, talent must be nurtured of individuals who would lead the era of the 4^th Industrial Revolution with the ability to empathize with others as well as the creative convergence-type intellectual ability necessary for the rapidly changing society. To determine content-creation methods, basic research is conducted. Additionally, this study investigates on the current status and educational process of the emotional textile-fashion industry worldwide. To nurture talents in the textile and fashion sensibility science, the basic contents are created to manage the knowledge that delivers sensibility science and the ICT related to this field, as well as in the intensive, PB-style conceptual design based on sensibility. The process from derivation of consumer emotion analysis and product development can be experienced through smart kit practice. Moreover, various methods are developed to set up intellectual property rights generated while developing ICT convergence products as start-ups. The study also covers new knowledge rights to develop emotional textile fashion.

• Journal of the Korean Home Economics Association
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• v.49 no.8
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• pp.97-111
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• 2011

This study aimed to present marketing communication strategy for lifestyle groups. Consumers' preference on advertisement media/information source, advertisement appeal types, and on-line media use were examined by lifestyle groups. This study was executed by web survey and off-line survey. A total of 141 data was obtained and data were analyzed by PASW 18.0. Results were as follows: First, 4 types of lifestyle groups were made up by holistic approach; 'price oriented', 'traditional symbolic', 'positive life', and 'open mind enjoyment'. 'Positive life type' preferred every type of ads media. 'Traditional symbolic type' liked magazine and 'price oriented type' and 'open mind enjoyment type' thought off-line store display more important. For ads appeal types, 'positive life type' preferred social oriented appeal type. Every group except 'price oriented type' preferred emotional appeal type and especially 'open mind enjoyment type' liked the most emotional ads appeal type.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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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.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.115-125
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• 2020

Rider jackets were once reserved for military uniforms but have become an important styling item in recent fashion trends. The design characteristics of the rider jacket are rooted in symbolism, and the image associated with a rider jacket is in line with the challenging of authority and being a member of the rebellious youth subculture. Usually, young people with anti-social tendencies wore jackets, and some styles were used as a medium to express their emotional homogeneity, and they received favorable responses as the items represented them. The design characteristics of a rider jacket can be largely divided into resistance against the older generation, violence, challenging cultural norms, sexuality, and resistance, as well as embodying violent characteristics, including strength, courage. and male chauvinism. The reason for the development of these challenging characteristics are disparagement and anger of the lower class, who were excluded from mainstream society. Rider jackets can be viewed negatively due to the kind of message it is conveying against mainstream society. Among the sexual features were leather pants, short-length leather rider jackets, glossy metal accessories, and belt buckles, which also highlighted gay and decadent images that came to be associated with the jackets. The drapery created various kinds of wrinkles according to the way of dressing, and it had beautiful expressiveness while serving to express the body more beautifully. Drapery can be classified according to the aesthetic characteristics or expression techniques, and if the type of drapery is classified according to the morphological characteristics, it can be classified into variable and fixed structures, depending on whether the part to which the drapery is applied is fluid or not. In other words, it depends on the dressing method or the intention, and if the drapery technique is directly applied to the garment or is attached to the form. This fashion design proposal may have the greatest significance in that it sought to propose a new style incorporating a drapery technique with a strong feminine image to a rider jacket, which traditionally was associated with a masculine image.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.135-146
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• 2016

The purpose of this study is to analyze the correlation between fashion brand image and store space image. To investigate this study further, one of the luxury fashion brands was selected for a case study and surveys were conducted to 200 participants. This study evaluates the factors of fashion brand images that customers associate with a brand before stepping inside the flagship store. Also it analyzes the factors of store space image after the experience of the flagship store. As a result of the correlation analysis based on quantitative statistic measures, the fashion brand image and store space image coincided highest with extraordinary, young and strong characteristics. According to the space elements of the flagship store, the relationship of the brand image with the store image was investigated. As a result of analysis, customers felt the high correlation with the facade among the architectural elements of flagship store. This resulted in that customers consider that the black box of the facade represents originality of this fashion brand as a concept of spatial elements. As a practical implication, companies should understand that the architectural design is a very crucial component in designing the flagship store, as it gives customers their first impression about a brand. The brand image is required to be integrated through the exterior design of the store. The final conclusion of this study shows that the flagship store provides a space where you can experience the corporate value and brand through the space of brand experience and share an emotional image created by the brand as well.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1097-1115
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• 2015

ICT in the IOT era is the core basis of modern society. This study investigated and analyzed the recent commercialization trends of smart fashion products internationally and domestically, to utilize them as the basis of data for developing user-friendly smart fashion products that can meet the needs of consumers. Keyword research using the most representative search engines, Google and Naver was conducted for searching for various wearable items commercialized actively since 2010. The final 78 products were classified by the physical area, and the key features and benefits were analyzed. Smart fashion products were classified as four physical types for the head and face, torso, arms and hands, and ankles and feet. Smart fashion products for each body part were developed in various ways, such as hats, glasses, lenses, virtual screens, earphones, headsets, clothing, watches, wrist bands, gloves, rings, wallets, bags, anklets, shoes, socks, and insoles. The main features were music playback, bluetooth, a camera based on NFC, virtual effects, health and safety protection through measuring heartbeat and momentum, and social network sharing of all kinds of information, based on inter-working with a smartphone. These functions represent the physical, social, and emotional interactions among users and their surroundings, as well as the users, themselves. The research results are expected to be used in future studies on planning user-friendly and marketable products through in-depth analysis of the design characteristics of smart fashion products as well as consumer responses.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.