• 패션비즈니스
• /
• 제23권2호
• /
• pp.34-47
• /
• 2019

Fashion can be regarded as an effective marketing tool for the promotion of urban tourism. Since fashion is attractive in itself, it can work as a resource which fascinates people and attracts many tourists to the city. This study examines fashion tourism based on the close relationship between fashion and tourism. This study focuses on analyzing the positive effect of the existence of a fashion museum on the advent of fashion tourism, in particular. A fashion museum can be classified in the same category as an art museum, whereby the museum exists as specializing in fashion and is considered a fashion brand museum. Thus, this study examines the current trends and characteristics of fashion museums and analyzes roles of fashion museums in fashion tourism by types, which are based on advanced researches of general tourism including trends in the fashion tourism industry. The results of this study are as follows: First, a fashion museum can help spread the word and educate tourists about fashion culture. Second, a fashion museum can increase the value of its brand by strengthening the city's identity. Lastly, the presence of a fashion museum would encourage tourists to spend more money in the city, which causes a ripple effect on the city's economy such as creating more jobs within the fashion.

• 한국의류학회지
• /
• 제40권5호
• /
• pp.936-953
• /
• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• 한국의류학회지
• /
• 제42권4호
• /
• pp.571-583
• /
• 2018

'Dress of the Year' by the UK Fashion Museum in Bath suggested an ideal role for a fashion museum and created fashion history along with the development of fashion journalism. A case study and literature research identified the characteristics of this scheme in terms of roles and functions for a fashion museum and defined them as: suggestion of collection cases, data construction for fashion research, and contribution to fashion critique. First, it suggested a good case of collection process. The 'Dress of the Year' creates a museum identity with a collection selected by designated journalist reviewer every year in order to maintain and strengthen a virtuous cycle. Second, it contributed to the accumulation of data for fashion research. The vast amount of data accumulated for more than 50 years became a fashion history that shows the change of fashion trends with a value of public confidence. It presented the possibilities of fashion research in various perspectives. Third, it contributed to the development of fashion criticism. The development of fashion journalism was conducted on the initiative of 'Dress of the Year' as well as contributed to the birth and growth of fashion journalists.

• 한국의류산업학회지
• /
• 제20권2호
• /
• pp.143-155
• /
• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• 복식
• /
• 제62권5호
• /
• pp.156-170
• /
• 2012

These days, fashion museums that were established during the 60~70s in advanced countries are spiritedly planning opportune exhibitions as well as opening collections and accumulated research materials to the public. They are also publishing innovative visual references and offering various educational programs. They play a crucial role in speeding up the development of creativity of fashion designers by accumulating archives through analytic researches. Since Korea has applied western fashion for over a century, now is the time to make a fundamental long-term plan for establishing the identity of Korean fashion by gathering and classifying the history of a century. Thus, the aim of this study is to reach a conclusion to construct fashion museum in Korea to discover as well as develop fashion talents and eventually enhancing national competitiveness. First, the theoretical study on the history and the functions of fashion museum were analysed. 'The collection & exhibition' in the common thread is one function of the fashion museum. Another function is 'the research', which includes accumulations, classification and record of materials in a particular point of view. It also includes publishing catalogues with temporary exhibitions and open management to the scholars and the designers. 'The communication', which is enacted through various educational programs and events for inflow of new visitors, is the other function of fashion museum. The current state of fashion museums in advanced countries and Korea were also analysed. Korean public museums only owned traditional collections while public fashion museums in other advanced countries usually owned collection of the past and the present together. The only contemporary fashion museum in Korea is run private which leads to many problems. Finally, The study went further to suggest the advanced model of fashion museum in Korea based on the research.

• 한국의류학회지
• /
• 제48권3호
• /
• pp.451-466
• /
• 2024

This study investigated the current statuses of and challenges faced by 19 textile and fashion museums in Seoul and Daegu. Through interviews conducted via email, phone, and face-to-face meetings with museum officials, this research analyzed the prevalent difficulties encountered by the museums based on the concept of the new museum. The results indicate that domestic museums experience different difficulties depending on operating organization rather than collection or exhibition content. This is related to the distribution of museums by operating institutions, as most textile craft museums are private establishments, and, the majority of dress and fashion museums are university-affiliated institutions. Accordingly, this study explored the major problems confronting textile craft, dress and fashion, and accessory museums with a consideration for operating institutions. It proposes improvements in domestic textile and fashion museums through a comparative analysis with overseas museums as new museums.

• 조명전기설비학회논문지
• /
• 제29권4호
• /
• pp.37-46
• /
• 2015

Lighting in a fashion shop has an effect on customers, highlights the products on the shelf, and has become more important. Even though lighting has a significant effect on customers, the studies on fashion shop lighting have primarily focused on how to create lighting which can influence customers' purchase behavior, and their awareness and expectation. On the contrary, it's been hard to find a study on a quantified fashion shop lighting plan considering customer confidence. In a current fashion shop lighting plan, display lighting is planned indiscreetly. Therefore, this study conducted an investigation of the light environment of the current fashion shop and museum exhibits lighting. Through such processes, the possibility of applying fashion store display lighting environments was investigated. Finally, for the assessment of museum exhibitions lighting applying fashion store display lighting environments, a subjective evaluation method using light simulation was proposed.

• 한국의상디자인학회지
• /
• 제21권3호
• /
• pp.81-91
• /
• 2019

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

• 한국의상디자인학회:학술대회논문집
• /
• 한국의상디자인학회 2004년도 한국의상디자인학회:학술대회논문집*Proceedings of the Korea Fashion
• /
• pp.9-10
• /
• 2004

ㆍ Exhibitions at National Museum of American History (NMAH) of Smithsonian Institution (SI) ㆍ Textile Conservation Lab at NMAH ㆍ Concept of Conservation, Preservation, and Restoration(omitted)

• 한국의류학회지
• /
• 제42권5호
• /
• pp.823-838
• /
• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.