• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.705-715
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• 2020

The domestic fashion industry of the middle and late 20th century emphasized the importance of a standardized design process; however, the values of differentiated brand individuality have become increasingly important with the qualitative·quantitative growth of designer brands. Therefore, paying attention to designer individuality (or a differentiated element of a designer brand growing up in the domestic fashion industry) this study reestablished factors of the designer brand individuality. An in-depth interview was conducted with 13 designers and consumers for empirical analysis. In order to identify concepts of designer individuality based on the theory of the brand personality by Aaker along with precedent studies, the study devised a theoretical frame to explain a conceptual structure of designer brand individuality as well as reestablish its factors as the designer individuality, design and non-design factors through empirical research. Empirical research derived the designer individuality factors as an external designer image, designer taste, design philosophy and designer personality. Design factors were derived as concept, working process and method, style and formativeness. Non-design factors were also extracted as wearing experience, wearer image, lookbook image, fashion shows and exhibitions. It is meaningful that little empirical research has been conducted on domestic fashion designers who actually run designer brands and that this study helped understand designer brands through a new approach called designer individuality.

• International Journal of Contents
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• v.7 no.4
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• pp.84-89
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• 2011

General recognition on the role of a designer has differently changed according to the age and region respectively. This research has clarified general recognition on a designer's role among a designer, experts that designers mainly perform co-work and an ordinary people in a period when the design identity is more confused than any other time. The results of this research are as follows. First, the 13 definitions on a role of a designer in a company were identified through field interview survey by presidents and practical responsible persons in design-specialized companies. Second, it was proved whether there is a difference in recognition on a role of a designer between designers and non-designers. Third, this research divided a group of non-designers into two groups such as a design job-related group mainly performing co-work with designer, and an ordinary people's group that doesn't major design. After that, this research found out the most sympathizing definition on a role of a designer at a company in three groups divided into a designer's group, a design job-related group and an ordinary people's group. The awareness on the role of designer was more objectively regulated three-dimensionally in all aspects of a designers group and a non-designers group. In addition, the findings of recognition difference of each group on a designer's role will help comprehensive understanding on each experts group and an ordinary people. The findings of the research will help in performing co-work of designers and non-designers in design decisionmaking based on understanding of this recognition.

• Journal of Fashion Business
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• v.21 no.3
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• pp.58-66
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• 2017

This study investigated the key role of sketches in creative fashion design by observing the cognitive process of idea development through a professional's design problem solving using the medium of hand sketching. The three-part semi-constrained design experiment with a professional designer, in which the participant designer was provided a source of inspiration image and asked to design a small collection of outfits, identified a fashion designer's idea development process as involving two phases of sketch processes: lateral and vertical transformation. Analysis of the video/audio recording and corresponding interviews validated lateral transformation in the designer's use of sketches to represent interpretation of the provided inspiration source. Through sketching, the designer transferred fuzzy ideas onto paper. Vertical transformation was observed through the designer's modification of previous ideas after reflecting on earlier sketches, with various ideas divided, manipulated, discarded, regrouped, and combined through sketching activities. The designer's sketching process is valuable design knowledge that facilitates the idea development process and ultimately triggers generation of creative ideas. Understanding it may benefit practitioners and educators.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.137-153
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• 2015

This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.282-288
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• 2016

This project aims to provide information on organizations and characteristics of Korean designer fashion industry in order to improve employment environment in fashion designer brands. This study utilizes the questionnaires and interviews with designers or human resources managers in Korean designer brands for forms, size and way of employment. The result shows that firstly, the size of employment in fashion designer brands is almost operated by small-scale human resources. Secondly, It is researched that they recruit less than 10 temporary employees per a brand on average as a problem. Thirdly, there are differences in business according to forms of employment. As researched, permanent employees usually conduct in design, products plan and production management, but, temporary employees conduct as a business assistant and salespeople. Fourthly, it is revealed that average salaries for permanents in fashion designer brands are between 1,510,000 and 2,000,000 won as the most people said. Moreover, the average salaries for temporaries are similar with permanents' as between 1,170,000 and 1,500,000 won. In fifth, in terms of the ways for recruitment, the proportion of job seekers who find a job by nonscheduled admission and special employment is larger than other ways. Finally, as a result of a research on an employment contract, employees have written the employment contract with the brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.6
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• pp.838-851
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• 2015

This study explores the level of designer brands' market oriented attitude through a conceptual framework of market orientation. Designer brands have rapidly increased in the Korean fashion market with a competitive environment that pushes designers to improve market oriented attitudes and strategy. Designers working for 20 brands that the government designated as 'promising creative designer brands' were invited for in-depth interviews, 19 designers from 18 brands participated in this study. The generation of market intelligence that composes market orientation meant that the designers were confirmed to collecting different types of information according to information sources. They showed interest in collecting information on the exploration of design trends from overseas designers as well as operational and managerial information from domestic designers. Fashion-related stakeholders mainly collected feedback on design concepts from the press and public institutions. They collected customer feedback from buyers; however, appropriate feedback was inadequate. Designers generally appeared to place less value on the collection of customer responses and opinions; however, two groups of designers showed customer-oriented attitudes according to accumulated experience. The market-oriented attitude of top designers had an important role in designer brands; consequently, top designers should be properly trained to improve market-oriented attitudes to increase market performance.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.6
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• pp.779-794
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• 2019

This study examines the effects of brand belief of a mass offline retailer on the perceived value, attitude, and purchase intention toward the products of emerging fashion designer brands in the context of marketing collaborations between emerging fashion designer brands and a mass offline retailer. We invited 198 adults aged 20 to 59 to an online survey who were asked to read a news article and respond to a questionnaire. The results of structural equation modeling show that brand belief of a mass offline retailer positively influences the perceived value of the products of emerging fashion designer brands. The perceived value also positively influences the attitude toward the products that subsequently enhances purchase intention. The findings suggest that emerging fashion designer brands should strategically select a mass offline retailer as their collaboration partner by considering consumer perceptions of the retailer brand because the brand belief of the retailer may have a halo effect on a consumer evaluation of the products of emerging fashion designer brands.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.25-34
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• 2006

This study was carried out to examine the level and relevant factors of influencing quality of lift of Hair Designer and to provide basic data to prepare intervention program for them. The data were collected from 733 Hair Designer who worked in beauty shops located in big and small cities including Seoul, Busan, Daegu, Daejon, Gwangju, Gyeongju, Changwon, Andong, using self-administered questionnaire for four months from February to June 2005. The results of this study show that the level of quality of life of Hair Designer are lower than one of workers in other jobs. Particularly, there is a close relationship quality of life, and that the lower the income and the shorter working hours, the lower the level of quality of life. Thus, the health promotion and education program to improve the quality of life of Hair Designer should be developed considering working conditions.

• Proceedings of the Korea Society for Simulation Conference
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• 1999.04a
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• pp.37-41
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• 1999

When an escalator is developed or modified for improved performance, estimation of dynamic characteristics of the escalator is required. But modeling of the escalator for a design purpose is very difficult and time consuming process. Especially, it is very difficult for the designer to use the simulation model during design process because it takes time and also the designer needs to know how to use the simulation program. In order to solve these problems, a graphic user interface program that can predict dynamic characteristics of an escalator is developed for the designer. Since this program has the necessary complicated escalator model inside, the designer does not have to know how to use the simulation program and design parameters can be obtained while design is in progress. The developed designer oriented interface program is explained and an example is shown.

• Journal of the Korea Society for Simulation
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• v.8 no.3
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• pp.29-37
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• 1999

When an escalator is developed or modified to improve its performance, estimation of dynamic characteristics of the escalator is required. But modeling of the escalator for a design purpose is very difficult and time consuming. Especially, it is very difficult for a designer to use the simulation model during design process because preparing a proper model takes time and also the designer needs to know how to use the simulation program. In order to solver these problems, a graphic user interface program that can predict dynamic characteristics of an escalator is developed for the designer. Since this program makes the necessary escalator model for simulation for itself, the designer does not need to know how to use the simulation program while design is in progress. In this paper, a designer oriented interface program is developed and an example is presented to show the effectiveness of the developed program.