• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.280-291
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• 2004

Apparel goods are classified by many criteria for ease of merchandising implementation. Fashion and basic goods are also an oucome oi classification. Previous studies pnvide some criteria by which apparel products can be classified into fushion and basic goods. Among those ciiteria, seasonality, fashionability, clothing types, complexity in pnduction, simplicity of style, pioducuon volume, degree of style change by season, could be listed. This study, first explored how apparel merchandisers and designers define fashion and basic goods in relation with those criteria. Definitions of fashion and basic goods were explored in terms of design elements (i.e., style, color, material), production volume, sales ratio, proportion in product assortment, and contribution to profit. The study adopted a qualitative approach by use of eighteen infepth interviews with menhandisers and designers. Six were from women＇s wear brand, Seven from men＇s wear brand, and 5 from casual wear brand. All the interviewees agreed that they are using the classification of basic vs. fashion goods. However, they are using diverse terms to indicate the basic and fashion goods. The interviewees defined each group based on its contribution to total sales or profit complexity in design, production volume, and style change by season. Basic goods had a higher level of production quantity, contribute more to profit simpler design, and less style change by season than fashion goods.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.4
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• pp.661-672
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• 2017

This research studies the aesthetic value of typography in fashion, within the framework of system for objective and multilateral research. For this purpose, a literature review and analysis of system and typography were performed. The scope of this research is from 2000 to 2015. The results of the research can be summarized as follows. First, by analyzing system and typography in modern fashion in order to set up a new theoretical standard, we found that the main values of typography in modern fashion concern functionality, hierarchy, stability, independency, and flexibility. Second, by analyzing of aesthetic value of typography in fashion within system, we found that main values the functionality of typography as a marketing tool, the hierarchy of typography as a slogan of subculture, the stability of typography for the increasing of collective belonging, the independency of typography as a linguistic playfulness, and the flexibility of typography as an image. Lastly, each aesthetic value of typography expressed in fashion has similarities and differences. It could be considered in the same vein as the system that always has a double-side character of dependency and independency, universality and individuality. This study has pursued to conduct more research on fashion within a framework of system.

• Journal of Fashion Business
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• v.20 no.2
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• pp.59-77
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• 2016

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer's individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer's creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.

• Fashion & Textile Research Journal
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• v.22 no.4
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• pp.413-431
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• 2020

Luxury fashion brands have begun to aggressively introduce art to justify inherent values such as tradition, craftsmanship, and exclusivity that make it difficult for luxury brands to uphold awe-inspiring atmosphere. Artification refers to a process in which non-artistic factors are transformed into art or artistic category under the influence of artistic thoughts or actions. In addition, the consumption space provided by brands have become important as the importance of substantial shopping experience has increased. Especially, since the artification is actively utilized in flagship stores in the communication interface with consumers. This study uses a literature review and case studies to typify and derive the meaning of the method for artification at a flagship store that effectively conveys brand identity and value. The types of artification at a luxury fashion brand flagship store are divided into pursuing brand permanency and maintaining brand exclusivity that also provides a new value of permanency like a work of art to a luxury fashion brand. Basic values, such as scarcity are declining, reviving and justifying the value threatened by the popularization of luxury.

• Journal of Fashion Business
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• v.16 no.6
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• pp.63-79
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• 2012

Modern art is getting more comprehensive and diversified regardless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and ionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern ionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photoshop, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various products is being well received now and I made my illustrations that could lead to follow up studies to apply the fashion illustration to other different products. Matisse' paper cut-our has forms, colors and patterns that can contain both commercial and artistic value. Therefore it is quite feasible for follow up research to apply into many different areas.

• Human Ecology Research
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• v.53 no.4
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• pp.463-473
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• 2015

The fashion industry has distinctive characteristics. It is important to understand the specific working environment and unique problems at fashion corporations in order enhance employee efficiency. However, studies on job stress for fashion employees remain limited. This study used qualitative research to examine major job stress factors for fashion company workers. In-depth interviews were conducted on 6 respondents who work in various departments at fashion manufacturing companies. We identified task-related factors and structural factors as the two major job stress factors. Task-related factors consisted of 4 elements (necessity of massive knowledge, overtime outside work, tight schedules, and organizational tasks); structural factors consisted of 3 elements (burden of sales outcome, formal relationships, and anxiety of salary retirement). The results indicated that respondents consistently tried to gain knowledge about the latest trends and field experiences that caused mental and physical exhaustion due to the necessity of working late. Designers and workers in the sales department were constantly evaluated by their sales results compared to other workers that caused high levels of stress. Respondents answered that building relationships was an important factor in the fashion industry and sometimes felt that building formal relationships was more important than the ability to do work.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.888-898
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• 2018

The purpose of this study was to review and establish the two concepts of art film and artistic expression in Prada fashion films, through a literature review of domestic and international case studies, as a form of luxury branded content, Prada fashion films are considered to artistic film genre. For the study, aesthetic expression in art films as discussed in the previous research was divided into four types. The study method was to review fashion / art films from the founding of YouTube, specially, works that used digital images from Thunder Perfect Mind, which was introduced in Prada in 2005, to Nylon Farm in 2018, stylistic features were searched by film. In addition, for this study, fashion film was analyzed based on the typology of art films. The following conclusions regarding artistic expression were drawn from this study : First, the Prada fashion films represent a transition to advanced art through a conceptual approach. Second, the causal relationships personality psychology can be cited through the disturbed and fragmented narrative lines. Third, the films help people identity Prada's aesthetics by humanizing the luxury brand. Fourth, the films are a feature of serialization.

• Journal of Fashion Business
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• v.27 no.4
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• pp.1-20
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• 2023

This study proposes the practical design elements of sustainable fashion by understanding the values of the MZ generation and analyzing the design characteristics that can extend the life of clothing. The theoretical concept of sustainable fashion through previous studies was reviewed and in-depth interviews were conducted with the MZ generation on "design characteristics of clothes that they have actually used for a long time." The result was drawn by approaching the constant comparison method through the qualitative methodology. As a result of the study, the design characteristics of clothes that can be worn for a long time are as follows. First, simple design pursues simplicity that is not excessive to the essential characteristics of clothes. Second, sturdy material is durable and not easily damaged. The clothing storage method and laundry method were also factors that could extend the life of the garment. Third, emotional design is a design that fits well with your mood and body type and gives a special meaning to your emotions. This study is meaningful in suggesting elements necessary for extending the life cycle of clothing and providing basic data that can be applied to the practical design steps of the fashion industry.

• Fashion & Textile Research Journal
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• v.26 no.2
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• pp.151-165
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• 2024

This study examines the creation method using parody in fashion, which has changed from the first half of the 20th century to the present day, by considering the creation method expressed in art. A literature review and case studies were conducted for this research method. The scope of this case study was to examine designer works that attempted an artistic approach, focusing on contemporary fashion in the 20th century to the present. First, it was found that parody, as a creative method in fashion, creates works that reflect designers' new perspectives or perspectives in the form of variations that vary from time to time. Second, the forms of variation that vary from time to time demonstrate Poire's imitation technique in the modernist era. Imitation and critical parody techniques were used in the postmodern era. In the post-contemporary era, the extended parody-type appropriation and re-transmission techniques were used. Third, when comparing creation techniques using parody in art and fashion by period, it was found that the fashion technique, which followed the creation technique in art, adopted the same method as the art technique, as it approached recently.

• International Journal of Costume and Fashion
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• v.3
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• pp.51-87
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• 2003

This study aims primarily to discuss the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' For this question, it describes fashion phenomena and characteristics that appeared during the time. Specifically, in order to understand the concrete essence of the red fashion boom in terms of clothing and textiles, this study classifies and describes the red fashion boom as 'object, process and symbol' concepts. It investigates each case within the context of fashion. Outside that context, then, the implications of the red fashion boom are examined based on cultural studies and other sociocultural perspectives. This question is considered by focusing on social pressures as ideology, looking at the voluntary behaviour of Korean people in this context and examining several other factors. This is an investigation of the relationship between fashion, society and culture pursuing fashion theory by reviewing the relevant theoretical backgrounds afforded by the humanities and the social sciences. Based upon the above theoretical discussions, it synthesises what factors contributed to the Korean red fashion boom. Finally, this study briefly states their applicability to cultural marketing in its practical aspects. This study has attempted to throw some light on the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' The Korean Red Fashion Boom emerged from its interrelation with each context of the World Cup, as in the dualism of 'Janus'. That is, the World Cup functioned as the positive face of a festival that collected deep emotions and passion and contributed to the integration of society. Whereas its negative face, ideologically speaking, personified the invisible capitalistic product produced by the nation, enterprises and the mass media. And the implications of the red fashion boom can be interpreted with reference to the two faced World Cup.