• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.52-75
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• 2014

The purpose of this research is to classify the historical features of mid-to-late twentieth century Korean fashion with a focus on 'Nora Noh', who is a first generation Korean fashion designer. The specific questions of this research are as follows: how did mid-to-late twentieth century Korean fashion and the Nora Noh brand develop and what is the relationship between the two? What are the important features of Korean women's fashion design in the mid-to-late twentieth century? What are the characteristics exhibited in each decade in Korean women's fashion and Nora Noh's fashion? This paper conducted the research by focusing on the Korean fashion development as a background of simplification in the way of dressing and specific historical incident. Researchers deployed a qualitative research method providing a systematic review of the previous studies by analyzing content as well as eleven oral statement interviews and the case study of Nora Noh. The result shows that Nora Noh is one of the first generation of Korean fashion designers who led fashion trend and system in Korea. The designer also influenced Korean commercial fashion in the 1970s and American fashion trends in the 1980s.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

• Journal of Fashion Business
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• v.26 no.4
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• pp.64-82
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• 2022

This study aimed to explore fashion technologies for small-scale designer brands and reveal the priorities of the derived fashion technologies. Interviews were conducted with owners of 15 designer brands to explore fashion technologies needed in the field based on the business operation stage (study 1), and an online survey of owners of 61 designer brands was conducted to verify their priorities (study 2). A total of 12 fashion technologies were derived from study 1, including 2 market analysis stages, 6 season planning stages, and 4 product operation stages. In study 2, importance and satisfaction were measured with 12 fashion techniques derived from study 1, and importance-performance analysis (IPA) was performed. The technologies of product management with image tagging and sales channel matching were considered to be the fashion technologies that should be developed first. Second, in the case of maintenance, demand prediction and price determination were applicable. Third, over-effort avoidance was revealed through market analysis and design generation. Finally, in automatic product detail page creation and digital marketing, development was the lowest priority. The results of this study are expected to provide insight into priority areas for fashion technology developers and policy departments providing emerging brand support.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.97-109
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• 2000

The purpose of this study is to apply 3D computer graphics in fashion design as a creative medium and it attempts to fine out what advantages 3D technique can offer to fashion design. For this purpose, this study, first, tries to develop a 3D digital model in which designer can select design, color , pattern and fabric palette whatever necessary . This study uses of the software named 'Poser of Fractal Design' and the and the 3D digital model comprises four stages ; body modeling, item design (item coordination), color design (color coordination), pattern and fabric design (pattern and fabric coordination). Secondly, this study seeks to accumulate a data base which was produced in the course of case studies, which have applied 3D digital model to design. The outcome of the case studies shows that 3D digital model can enhance designing in the following four aspects. ⅰ) It can give more freedom to designer to try various ideas, revise and modify them, It can also produce random generation. Through this process, the designer test various input and output without damage on fabric after revision and alteration. ⅱ) It can help designers to enhance their accuracy. Since fault in the design developed by the 3D digital model can be detected in advance, designers can make correlation before actual work begins. In the end, designers can express their ideas and intention accurately as well as freely. ⅲ) Since design developed by the 3D digital model can be shared on screen by various actors in the course of priduction such designers , merchandisers, and supervisors, it can help communication between and cut the time of feedback.ⅳ) By using the 3D digital model, designers can work from the begining with awareness of actual outcome their design, since the 3D digital model provide animation, which helps designers to envisage visual changes as they apply various items, colors, pattern and fabrics.