MANAGING SUCCESSIVE COBRANDING ALLIANCES IN FASHION FIRMS

Marie-Agnès Parmentier,Eileen Fischer 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

“What makes a label sell: its name or the person behind it?” (The Guardian, 3-3-2000) It seems like fashion houses have spent the last decade playing the musical chairs game with their fashion designers (Socha, 2012). At Saint Laurent Paris, for instance, Hedi Slimane, who was the label’s men’s creative director from 1997 to 2000, came back as creative director in 2012 to replace Stefano Pilati (2004-2012) who, himself, had replaced Tom Ford (2000-2004) previously. Meanwhile, at Louis Vuitton, Nicolas Ghesquière left Balenciaga to fill the shoes of Marc Jacobs who had been creative director for the label since the late 1990s (1997-2013). And at Dior, Raf Simons took over from Bill Gaytten (2011-2012) who had discretely held the ship after the abrupt departure of John Galliano (1996-2011). The phenomenon of a brand having to replace a key persona with whom it is cobranded is far from rare: sports team regularly draft new athletes, television screenwriters kill beloved characters because actors are leaving their shows, and political parties must replace departing leaders. In these contexts, as in fashion firms, maintaining brand equity across successive cobranding alliances with key personae is a challenging brand management issue. In this research project, we aim to further our understanding of how fashion brands can maintain equity by examining how they manage ongoing cobranding between the house and the designer, especially given the challenges faced by the succession of designers – or game of musical chairs - most houses face. The research questions guiding this effort are as follows: 1) Why do fashion houses cobrand with key personas? 2) What challenges are associated with cobranding with key personas? and 3) What strategies are enacted to address these challenges? To investigate these questions, we have examined the ways that some of the most successful fashion houses manage their brand equity through the dynamics of cobranding. We illustrate our findings with the case of Saint Laurent Paris, a fashion house established in 1968 by Algerian-born French designer Yves Saint Laurent. In this abstract, we first review some key literature on cobranding, then discuss our methodology. We conclude by presenting our preliminary findings. Theoretical Perspectives on Cobranding A generic definition of cobranding refers to it as an alliance “in which two or more brands are presented to the public” (Newmeyer, Venkatesh and Chatterjee 2014). In practice, conceptualizations of cobranding vary. One that is common entails “ingredient branding” in which a key ingredient of one brand is some other brand, such as an Intel chip inside a Dell computer (e.g., Desai and Keller 2002). Another common conceptualization refers to two parent brands launching a new product, as when “two leading fashion houses…join forces to create a new line of clothing” (Monga and Lau-Gesk 2007, 391). Recent work has also acknowledged that cobranding can take place between people and brands. For example Wilcox and Carroll (2008) discuss celebrity cobranding, wherein a celebrity cobrands with a product brand. And in the organizational literature, the fact that a CEO’s personal brand is intermingled with that of the company that person manages has been well recognized (e.g., Graffin, Carpenter, and Boivie 2011). Our conceptualization of fashion designers as cobranded with the houses that employ them is consistent with such research, in that it considers a type of cobranding in which an employee who is a key persona in a company, and that company’s product offerings, are together presented to the public. A frequent assumption in much cobranding research is that it takes places “between two successful brands” (Monga and Lau-Gesk 2007, 389); however, in practice, it is possible for the two brands in an alliance to vary in the extent to which they are already well known and successful (Cunha, Forehand and Angle 2015). Further, cobranding arrangements can vary in terms of the level of integration; in some instances, cobranding might entail mere co-location, whereas in others, the brand partnership may mean that the features of the each brand are tightly integrated and difficult to decouple (Newmeyer et al. 2014). Relatedly, cobranding may vary in terms of duration, ranging from a promotional cobranding that is intentionally short-lived to enduring cobranding that is intended to persist for years or decades. The focus of past cobranding research has frequently been on exploring how consumers respond to cobrands. However, scholarly attention has also been turned to the strategies that firms use to manage the challenges of cobranding. Our work falls within the latter category. Methodology Data Collection To examine the dynamics of cobranding with a key persona in the fashion context, we collected a combination of archival and observational data from five major fashion houses: Balenciaga, Dior, Gucci, Louis Vuitton, and Saint Laurent Paris. The archival data includes articles drawn from the fashion coverage of the last fifteen years of: The New York Times, The Financial Times, The Guardian, The Wall Street Journal, The Daily Telegraph and Le Monde. Coverage from fashion industry key media references such as Women’s Wear Daily, Style.com and Vogue.com is comprised as well. Using Factiva, Lexis-Nexis, and the fashion houses’ own digital archives, we searched and collected articles that pertained to the disintegration of the cobranded alliance and integration into of the new cobranded alliance for the fashion houses mentioned above. In our dataset, we also included reviews of promotional materials such as fashion exhibitions (e.g., Müller and Chenoune’s (2010) “Yves Saint Laurent”), and popular culture artifacts such as films (e.g., Lespert’s (2014) “Yves Saint Laurent”). Furthermore, to help us contextualize the branding strategies and practices of the fashion houses, we reviewed documentaries and books published about the fashion industry such as Nicklaus (2012) “Fashion Go Global,” English’s (2007) “A Cultural History of Fashion in the 20th century,” Palomo-Lovinski’s (2010) “The World’s Most influential Fashion Designers,” and Steele and Menkes’ (2012) “Fashion Designers: A-Z.” Finally, our archival dataset was complemented by observational data gathered from visits to the fashion houses’ New York City flagships and department stores’ concessions. Data Analysis Following the conventions of qualitative research (Belk, Fischer and Kozinets 2013), the analysis of our data was an iterative process of interpreting, deriving new questions, searching for and collecting new data, and rejecting, confirming, and refining our emerging interpretation until reaching sufficient interpretive convergence and theoretical saturation. We present a summary of our findings in the next section. Findings Below, we indicate our answers to the three research questions raised in the beginning of this abstract. 1) Why do fashion houses cobrand with key personas? Luxury fashion houses operate in an institutional field where the logic of art and the logic of commerce are intertwined (Scaraboto and Fischer, 2013). While fashion may not be art per se, well-respected figures such as Pierre Bergé, Yves Saint Laurent’s longtime romantic and business partner, consider that it requires an artist to create fashion (Bergé, 2015). Dion and Arnould (2011), in their research on the charismatic aura of contemporary luxury fashion designers, have argued that managing the relationship between a fashion house and its artist, i.e. the designer, is an essential element of successful luxury brand management. In the fashion industry, cobranding efforts between a fashion house and a designer thus appears to be a deeply institutionalized norm from which deviating could be risky. One reason behind this institutionalized norm is that the business of fashion requires constant renewal (e.g., Agogué and Nainville, 2010). The introduction of a new designer within an established house can serve this renewal purpose. Moreover, as celebrity culture seems to pervade every sphere of life, the phenomenon of celebrity designers resonates with broader socio-cultural trends (Agins, 2014; Oeppen and Jamal, 2014), reinforcing the value of a key persona’s vibrant image. 2) What challenges are associated with cobranding with key personas? For a fashion house, at least two challenges are associated with cobranding with a key persona: 1) maintaining brand continuity and 2) protecting the brand from a key persona’s imperfections. The first challenge implies that while the nature of the fashion industry invites brands to constantly refresh their offerings and engage in innovation (Oeppen and Jamal, 2014), fashion houses, like other brands, must also strive to maintain brand continuity in order to preserve their brand equity (Keller, 2000). Maintaining brand continuity while keeping the brand fresh suggests maintaining a clear and differentiated brand positioning while enrolling new brand meanings that can sometimes be contradictory or counterintuitive (e.g., “Gucci's top designer to refashion YSL look,” Finn, 2000). When a fashion house joins forces with a key persona, the aesthetic, style and cut of what the designer creates must somehow blend with the core attributes of the fashion house to create, an overall brand experience that is innovative, yet reminiscent of the house’s signature. The second challenge fashion houses face when cobranding with a key persona is protecting the brand from human imperfections. Among these “imperfections,” the most obvious is the inevitable mortality of key personas. In addition, key personas, by virtue of being human, have other purposes in life than consistently serving the market. Their actions and behaviors may sometimes conflict with, be counterproductive to, and/or undermine their own brand equity development (Parmentier and Fischer, 2012,) and that of their partner in a cobranding alliance (e.g., Béroard and Parmentier, 2014). 3) What strategies are enacted to address these challenges? We identify strategies enacted to disintegrate relationships with designers who are departing and those used to integrate new designers into cobranded relationships with the houses that hire them. Examples of strategies enacted to disintegrate cobranding relationships include “erasing” “denigrating,” and “respectfully acknowledging” the departing designer. Examples of integrating strategies include “legacy linking,” “restricting sphere of influence,” “fostering self promotion,” and “encouraging innovation.” The paper defines these strategies, notes that they are not mutually exclusive but rather may be complementary, offers examples of all strategies drawing on the data collected, and offers preliminary insights on the implications of these strategies.

로맨틱 JEAN 패션디자인 연구

정은선,김정혜 한국니트디자인학회 2008 패션과 니트 Vol.6 No.1

Fashion is a cultural code most sensitively demonstrating movements in changing society; the jean fashion has grown not only in comfortable and functional everyday clothing but also in attractive high fashion; a decorative and feminine romantic style of the jean fashion has been remarkably developed in the 21st century. In designing the jean fashion by introducing aesthetic properties of the romantic fashion, this study developed and used various kinds of jean using flounce, ruffle, unraveling, taping, stitches, and cubic flower embroidery designs. Silhouettes and details were expressed in a modern and feminine image applying the line of corsets. On this basis, an attempt was made to present a method to expand expressions of the jean fashion and develop designs in pursuit of characterization and diversification. The purpose of this study is to develop materials to emphasize expressions of a new fashion and creators' individuality to expand the area of material expression and create styles for a new romantic jean fashion design. For this purpose, prior literature and researches were reviewed for the concept and features of the romantic fashion, properties of the romantic fashion, and the concept, history, kinds, and expressions of the jean fashion, along with collection of photo data from Internet websites and collection magazines to perform case analysis of the modern romantic fashion design and jean-using designs in the modern fashion. On this basis, eight suites of jean clothes were manufactured by introducing a romantic fashion. This study obtained the following conclusions. First, theoretical consideration of the romantic jean fashion demonstrated that it was development of materials and creation of creative designs which exerted great effects on designs and played a key role in the modern fashion. It is jean which is being used in various classes, regardless of age, gender, or rank, in the modern fashion using various materials; various detail expressions and feminine images of the romantic jean fashion have been developed markedly in this 21st century. The property of the modern romantic fashion is found to be sensuality caused by decorativeness and exposure, which functions in combination with various expressions of jean to make the romantic jean fashion remarkable today. Second, it was possible to develop handcraft-like, artistic jean for a material of a work and give feminine and aesthetic expression of the romantic jean fashion. Silk chiffon dyed in the same color with jean was mixed and matched to emphasize the soft and delicate style of the romantic fashion; it was possible to express an ample sense of quality by various expressions including cubic flower embroideries, stitches, taping, and unraveling. Third, four colors―light blue, indigo blue, grey, and black―were used to express the jean fashion with elegant romantic images. Accent was given by color arrangement with light colors of unraveled strands and stitches; it was possible to emphasize cuts and the lines of flower motives with accentual colors, such as white, yellow, and red. Fourth, it was possible to create a jean fashion in a specific style by introducing cuts of corsets and applying decorative details, such as flounce, frill, lace-up, and hook & eye, in order to emphasize feminine and decorative features of the romantic fashion in the style of works Fashion is a cultural code most sensitively demonstrating movements in changing society; the jean fashion has grown not only in comfortable and functional everyday clothing but also in attractive high fashion; a decorative and feminine romantic style of the jean fashion has been remarkably developed in the 21st century. In designing the jean fashion by introducing aesthetic properties of the romantic fashion, this study developed and used various kinds of jean using flounce, ruffle, unraveling, taping, stitches, and cubic flower embroidery designs. Silhouettes and details were expressed in a modern and feminine image applying the line of corsets. On this basis, an attempt was made to present a method to expand expressions of the jean fashion and develop designs in pursuit of characterization and diversification. The purpose of this study is to develop materials to emphasize expressions of a new fashion and creators' individuality to expand the area of material expression and create styles for a new romantic jean fashion design. For this purpose, prior literature and researches were reviewed for the concept and features of the romantic fashion, properties of the romantic fashion, and the concept, history, kinds, and expressions of the jean fashion, along with collection of photo data from Internet websites and collection magazines to perform case analysis of the modern romantic fashion design and jean-using designs in the modern fashion. On this basis, eight suites of jean clothes were manufactured by introducing a romantic fashion. This study obtained the following conclusions. First, theoretical consideration of the romantic jean fashion demonstrated that it was development of materials and creation of creative designs which exerted great effects on designs and played a key role in the modern fashion. It is jean which is being used in various classes, regardless of age, gender, or rank, in the modern fashion using various materials; various detail expressions and feminine images of the romantic jean fashion have been developed markedly in this 21st century. The property of the modern romantic fashion is found to be sensuality caused by decorativeness and exposure, which functions in combination with various expressions of jean to make the romantic jean fashion remarkable today. Second, it was possible to develop handcraft-like, artistic jean for a material of a work and give feminine and aesthetic expression of the romantic jean fashion. Silk chiffon dyed in the same color with jean was mixed and matched to emphasize the soft and delicate style of the romantic fashion; it was possible to express an ample sense of quality by various expressions including cubic flower embroideries, stitches, taping, and unraveling. Third, four colors―light blue, indigo blue, grey, and black―were used to express the jean fashion with elegant romantic images. Accent was given by color arrangement with light colors of unraveled strands and stitches; it was possible to emphasize cuts and the lines of flower motives with accentual colors, such as white, yellow, and red. Fourth, it was possible to create a jean fashion in a specific style by introducing cuts of corsets and applying decorative details, such as flounce, frill, lace-up, and hook & eye, in order to emphasize feminine and decorative features of the romantic fashion in the style of works

패스트 패션 (Fast Fashion)에 대한 법률적인 고찰

이재경 한국스포츠엔터테인먼트법학회 2016 스포츠와 법 Vol.19 No.1

Since the late 2000's, "Fast Fashion" brands, such as Zara, Uniqulo & H&M, are now dominating the fashion industry not only domestically but also worldwide level. Design piracy is, however, inevitable with the characteristics of fast fashion and is “the increasingly prevalent practice of enterprises that seek to profit from the invention of others by producing copies of original designs under a different label.” The Council of Fashion Designers of America (CFDA) has been lobbying Congress since 2006 in order to receive protection for fashion designs. A number of versions of legislations such as the 2006's Design Piracy Prohibition Act (DPPA), 2011's the Innovative Design Protection and Piracy Prevention Act (IDPPPA) and most recently 2012‘s Innovative Design Protection Act (IDPA) has been deployed, but still no result have been achieved yet. A reasonable person would find US Congress' refusal to extend copyright protection to fashion designs to be antiquated, especially in light of the AWCPA, the Vessel Hull Design Protection Act, and society's recognition of fashion design as an art form. The pending legislation in favor of copyright protection for fashion design has finally been revised into a form that has removed the controversial provisions and is a practical and reasonable form of protection for fashion design. I believe that should this legislation pass, fast-fashion retailers should use the marketing strategy of designer collaborations as a way to continue to use original designs without infringing. The strategy of designer collaborations is an increasingly popular model that can and should be capitalized on by fast-fashion retailers under the new legislation should it pass. However, currently H&M and Target are the main users of this model and many other stores could benefit from it as well. This strategy benefits retailers by drawing in new customers; it benefits designers by allowing them to profit from new designs; it benefits con-sumers by allowing them to purchase designer brands at affordable prices; and it benefits society by creating an incentive for new creativity which will eventually fall into the public domain. 2000년대 후반 이후, Zara, H&M 등의 SPA 브랜드가 이끄는 패스트 패션(Fast Fashion)이 패션산업의 주류를 이루면서, 기존 브랜드와의 충돌 및 이에 대한 법률적인 쟁점이 패션산업의 가장 의미있는 연구 쟁점으로 떠오르고 있다. 미국에서는 패션디자인에 저작권법적 보호를 허용하자는 취지의 IDDDPA, IDPA 등의 입법적인 노력이 2006년부터 줄기차게 시도되었으나, 내부적인 의견 충돌 등 여러 가지 원인들로 인하여 아직도 국회의 통과를 기다리고 있는 상황이다. 이와 같이, 몇몇디자인들이 상표와 트레이드 드레스에 의해 제한적으로 보호받는 것 외에는 패션 디자인은 지식재산권의 보호를 제공받지 못해왔다. 디자인이나 특허는 빠른 상품판매주기를 가지고 있는 패션 디자인의 보호에 적합하지 않다. 오히려, 저작권법적인 보호는 유형의 매체에 고정된 저작자의 독창적 노력을 보호하기 위한 것이고, 패션 디자인은 이러한 범주로 구분될 수 있기 때문에 적합한 측면도 있다. 그러나, 법원은 패션 디자인을 창조적 측면이 실용적 측면으로부터 분리될 수 없는 실용적 상품으로 보는 입장으로 일관하고 있다. 패션 디자인을 위한 저작권 보호를 지지하는 심사중의 IPDA 입법은 논란의 조항을 제거한 형태로 최종적으로 수정되었고, 이는 패션 디자인 보호의실용적이고 합리적인 형태이다. 위 입법이 통과되면 패스트 패션 소매상인들은 예전처럼 복제품을제조, 판매할 수 없게 된다. 그렇다면, 패스트 패션 브랜드 기업이 합법적으로 계속하여 원본 디자인을 사용하기 위한 방법으로 디자이너 콜라보레이션 마케팅 전략을 활용해야 하는 것이다.

BODY SIZE MATTERS -EXPLORATORY STUDY ON BODY SIZE–BASED DISCRIMINATION IN EMPLOYMENT FOR FASHION DESIGNERS-

MiYoung Lee,Hayoung Hwang 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

The fashion industry is one of the most labor intensive industries, and employs over 25 million workers in over 100 countries (Reinhard, Schmidt, Rützel, & Zentgraf, 2013). There have been many concerns regarding the poor working conditions of garment workers, including their long working hours, forced overtime, and hazardous working environments, especially in developing countries. In Korea, competition has intensified within the industry with the emergence of global fashion companies, which has caused many fashion companies to move their production bases overseas in search of cheaper labor (Son, 2007). Thus, the labor problems that have arisen in the fashion industry are mostly about low wages and the poor working conditions of production workers. However, what about the labor problems of fashion industry workers other than those in production factories? Lee, Kim, Shin, Yoon, Lee, Chang, Chung, and Choi (2009) noted in their study that white-collar workers in fashion companies in Korea work longer hours, receive fewer benefits, and have a higher turnover rate than workers in other industries. In 2015, the poor working environment and low or absent wages of fashion industry interns came under public scrutiny (Kim, 2015; Kwon, 2016). In addition, there were cases in which body size was specified when hiring fashion designers, which raised the question of discrimination based on physical appearance (Kim, 2015). These employment conditions are important factors that influence fashion design majors entering the job market. Hence, regarding this and the physical body size discrimination of fashion designers in the Korean fashion industry, the aims of this paper are twofold: 1) to examine the present situation of physical discrimination by analyzing fashion companies’ job advertisements and 2) to explore fashion major undergraduates’ opinions about job criteria that indicate potential physical discrimination. Two approaches were used in this exploratory study to examine potential hiring discrimination tied to job applicants’ body size; 1) investigation of job advertisements by fashion companies and 2) focus group interviews with fashion majors seniors or graduates looking for a work as fashion designers. First, job advertisements for fashion designers placed on major fashion recruiting sites (e.g., www.saramin.co.kr, www.fashionscout.co.kr, and http://cafe.naver.com/fashionworking) in 2015 were reviewed to determine the current situation of which physical conditions or specific body measurements are set as job requirements or preferred qualifications when hiring fashion designers (n=201). Next, five focus group interviews with seven university seniors each(n=35) were conducted. No fashion companies that were looking for experienced fashion designers only (n=65) included a physical body-size requirement in the job advertisement. Thus 136 fashion designer interns or entry-level fashion designer advertisements were used in further analysis. According to the analysis of the “job requirements”, among those 136 advertisements, 51.5% required education and only 16.2% required a related major along with education, 10.3% required fitting capable size (e.g. female fitting size 55) and 13.2% even presented detailed body measurements (e.g. height 175–178 cm). Among the “preferred” qualifications mentioned in the advertisements, fitting capable size accounted for 6.6%, detailed body measurements accounted for 2%. Analysis results showed that physical conditions capable of fitting were presented more frequently than major as requirements or preferred qualifications, indicating that physical conditions capable of fitting was one of the most important factors for hiring fashion designers. Based on the five focus group interviews, participants’ opinion toward body size requirements in job advertisements were summarized into five themes: 1) Discontent over the unreasonable standard— “Why do I have to have a model figure to become a fashion designer?”; 2) Adapting to given circumstances— “I will lose weight to become a fashion designer”; 3) Frustration over reality that can’t be changed with effort— “I can lose weight, but I can’t get any taller”; and 4) Setting practical alternatives—“I can be a children’s clothing designer instead of women’s”. Most respondents shared a sense of discontent over such hiring requirements and unreasonable discrimination on the grounds of appearance, but they also showed reluctant acceptance of the unreasonable discrimination practiced by employers in the fierce job market. The physical restrictions set as requirements by fashion companies fundamentally deny opportunities to some applicants. Importantly, the outright specification of a physical condition that cannot be overcome through personal effort or improved by the cultivation of skills as a hiring requirement is an infringement upon personal rights. The fashion industry should make efforts to improve its awareness of fashion designers as specialists equipped with design competencies instead of treating them as fitting models simply to save costs.

패션 기반 통합디자인을 위한 페르소나 개념

신승원,허지원,최태순,양은경 한국패션디자인학회 2023 한국패션디자인학회지 Vol.23 No.2

The concept of persona is an essential part of a user-research technique in the field of integrated design, which includes product, visual, and fashion designs, based on the principles of design thinking methodology. However, in the research of fashion-based integrated design, the concept of persona is not limited to user-research techniques, and it is used in various phases of the fashion industry process. Nevertheless, theoretical research on the conceptual characteristics of persona in integrated design remains insufficient. Therefore, this study aims to formulate differentiated persona concepts in fashion-based integrated design by classifying the characteristics of persona concepts used in the fashion industry process. As a research method, the concept of UX design persona, which is predominantly used in integrated design, was examined through literature review. The characteristics of persona concepts used in the fashion industry process were analyzed to identify the discriminatory features of fashion persona, extensively used at various stages of the fashion industry process. As a result, this study identified the following features of fashion persona that could be applied in the field of fashion-based integrated design. Firstly, in the design planning stage, the persona concept can be used as a user-research technique, similar to the UX persona technique. Secondly, it can be used as an extended tool concept to personify the brand or express the identity of designers and consumers as a marketing strategy. This concept can be used in combination with those of existing fashion muses and ambassadors as a tool for consumer communication, however its use will require specific theoretical definitions. In conclusion, the persona concept in the field of fashion-based integrated design, is not limited to user researches at the design stage but can be expanded to various phases of the fashion industry process as a strategy for promotion and communication which can represent user identity. The establishment of persona concepts for fashion-based integrated design will contribute to developing the diversity of methodologies and laying the related theoretical foundation in the field of integrated design, which is expected to expand rapidly with technological development. 제품, 시각, 패션 디자인 분야를 아우르는 통합디자인 분야에서 페르소나의 개념은 현재 디자인 사고 방법론에 기반한 사용자 조사 기법으로 이해되고 있다. 반면, 패션 기반 통합디자인 분야에서 페르소나 개념은 이러한 사용자 조사 기법에 국한되지 않고, 패션 산업 프로세스의 다양한 단계에서 쓰이며 확장적 페르소나의 개념으로 활용할 수 있다. 하지만, 현재 통합디자인 분야에서 페르소나의 개념 특성에 대한 통합적 이론 연구는 미흡하다. 따라서 본 연구는 패션 산업 프로세스에서 활용되는 페르소나 개념을 탐색함으로써, 패션 기반 통합디자인의 차별화된 페르소나 개념을 체계화하고자 한다. 연구 방법으로, 문헌 고찰을 통해 통합디자인 분야의 페르소나 개념과 비교하여, 패션에서 활용되는 페르소나의 확장적 개념을 유형화하고, 사례 조사를 통해 패션 페르소나 개념의 유형별 특성을 정리하였다. 연구 결과, 패션 산업 프로세스의 여러 단계에서 확장적으로 활용되는 패션 페르소나의 차별적 특성을 패션 기반 통합디자인 분야에 적용하는 가능성을 다음과 같이 제시할 수 있었다. 첫째, 디자인 기획 단계에서 활용되는 페르소나 개념으로, UX 페르소나 기법과 유사한 사용자 조사 기법으로서 페르소나 개념을 사용할 수 있다. 둘째, 마케팅 단계에서 활용되는 페르소나의 개념으로, 크게 두 가지 유형으로 개념화할 수 있었다. 첫째, 홍보 전략으로서, 브랜드의 의인화나 디자이너 및 소비자의 정체성을 표현을 위한 확장된 도구 개념으로 페르소나 개념을 활용할 수 있고, 둘째, 소비자 커뮤니케이션을 위한 도구로서 기존의 패션 뮤즈나 앰버서더의 개념과 혼용하여 활용할 수 있으나, 이들 간의 구체적인 이론적 정의는 필요하다. 이처럼 기존 패션 페르소나 개념은 디자인 단계의 사용자 조사에서의 활용에 국한되지 않고, 패션 산업 프로세스의 여러 단계에서 활용될 수 있으므로, 패션 기반 통합디자인 분야에 있어서 기존의 사용자 특성에 대한 이해와 공감을 목적으로 활용되는 페르소나 기법의 개념에서 나아가 홍보 및 커뮤니케이션 단계에서 활용 가능한 전략으로써 브랜드 및 사용자 정체성 표현 및 소통하는 도구의 개념으로 확장될 수 있을 것이다. 본 연구 결과는 통합디자인 분야에서 패션 기반 통합디자인 방법론의 개발과 이론적 토대를 확립하는 데 기여할 것이다.

패션 디자인 씽킹(design thinking) 프로세스를 위한 AI 기반 디자인 툴의 활용 가능성

이시헌 ( C-hun Lee ),이지현 ( Jee-hyun Lee ) 한국디자인트렌드학회 2021 한국디자인포럼 Vol.26 No.2

연구배경 현대사회의 변화를 이끌어나가는 중요한 키워드 중 하나인 인공지능은 예술과 디자인 분야에도 적극적으로 활용되고 있으며, AI 패션 시장 역시 점차 확대될 것으로 예상되고 있다. 특히 최근에는 오픈소스 인공 지능 디자인 툴의 활성화를 통해 비전문가도 쉽게 응용이 가능한 형태로 제시되고 있는 추세이다. 본 연구의 목적은 최근 상용화된 AI 기반 디자인 툴의 동향을 살펴 보고, 디자인 효율성을 높이는 창의적 보조 도구로서 인공지능과 패션 디자이너의 최적화된 업무 관계의 가능성을 제시하는 것에 있다. 연구방법 연구 방법으로는 먼저 문헌연구를 통해 인공 지능과 디자인 씽킹(design thinking) 프로세스에 대해 살펴본 후, 선행연구 자료를 기반으로 하여 패션 디자인 씽킹 프로세스를 고찰하였다. 다음으로 최근 상용화된 디자인 툴 중 패션 디자인 과정에 적용 가능한 대표 사례 10가지에 대한 사례 분석과 패션 전문가 심층 인터뷰를 통해 인공지능 디자인 툴의 특성과 장점을 도출하였다. 그리고 인공지능 기반 패션 디자인 씽킹 프로세스 모델을 제시하고 그 활용 가능성을 논의하였다. 연구결과 분석 결과 여덟가지 유사 기능과 일곱가지 장점이 도출되었으며, 이를 통해 확인할 수 있었던 인공지능 기반 패션 디자인 씽킹 프로세스의 가능성은 다음과 같다. 첫째, 인공지능은 패션 디자이너의 창의적인 역할을 돕는 조력자로서의 역할을 수행하게 될 것이며 AI 디자인 소프트웨어와 인간의 콜라보레이션은 효율성과 디자인 완성도를 높이는 효과를 가져올 것이다. 둘째, 인공지능 기반 프로세스에서는 수렴적 사고의 중요성이 높아져 아이디어를 조합하여 새로운 해결방안을 구상하거나 선택하는 부분에 디자이너의 창의성이 집중될 것으로 예상된다. 셋째, 인공지능이 생성한 결과물이 디자이너의 창의성을 자극하고 영감을 제공하는 역할을 하여 디자이너의 창의적 영역이 더욱 확장될 가능성을 가진다. 결론 본 연구는 AI 기술과 융합된 패션 디자인의 방법론을 확대하고, 이를 통해 패션 디자이너 업무 영역의 변화와 미래 갖추어야 할 역량의 방향성을 제시하는 기반 자료로써 의미를 가진다. Background In recent years artificial intelligence is bringing new change in the whole modern society. The advance of artificial intelligence has raised interest in the role of AI in the arts and design field, and its growing impact on the fashion industry remains positive. Emergent AI technologies in open-source design software tools are allowing non-professionals to have easy access to such skills, which were commonly considered complex and technical. The purpose of this paper is to examine the current state of AI based design tools, and discuss the optimized creative working relationship of AI and fashion designers that increase the efficiency of the fashion design thinking process. Methods As methods of research, this paper first examines previous research and literature on artificial intellegence and design thinking processes, and investigates the fashion design thinking process. It then analyze 10 cases of exixting AI based design tools that can be utilized in the fashion design ideation stage, and conduct interviews of fashion design professionals to analyze the overall functional property and advantages. It then suggests a framework of AI-based fashion design thinking process and discusses the design possibilities of emergent AI technologies in the fashion design context. Result As a result, the detailed functions of the cases were grouped into 8 categories, and 7 advantages were derived. Based on these results, the potentials of AI in the fashion design thinking process were discussed. First, AI design tools are likely to act as a design partner of a fashion designer, and the collaboration between AI and human will enhance the efficiency and quality of the result. Second, it appears that the importance of convergent thinking will increase, thus implementing that fashion designers’ creativity will be more focused on planning and selecting from existing ideas. Third, the outcomes of AI based design tools could promote inspiration, thus acting as a stimulant of the designer’s creativity. Conclusion This research aims to suggest a methology that integrates AI technology and fashion design, and clarify the future role and necessary capabilities of fashion designers in the age of artificial intelligence.

윤리성을 기반으로 해체의 방법을 적용한 패션디자인 연구

허진영 ( Heo Jin Young ),김혜연 ( Kim Hea Yeon ) 한국기초조형학회 2017 기초조형학연구 Vol.18 No.2

현대 사회는 전반적으로 환경에 대한 관심이 증가하게 되었고, 생산 및 소비 윤리의 중요성이 부각되고 있다. 윤리의 개념은 최근 다양한 분야에서 디자인과 관련하여 강조되고 있으며, 브랜드 철학에서 더 이상 윤리의 개념을 간과 할 수 없게 되었다. 이에 본 연구는 버려지는 방대한 양의 패션 폐기물들의 재활용 필요성을 인식하고 사회 전반적으로 부각되고 있는 윤리적 패션디자인의 중요성과 가치에 주목하여 윤리적 해체의 디자인 방법을 구축하고 이를 패션디자인으로 구현함으로서 인간과 환경 중심의 윤리적 패션 디자인 실천의 가능성을 제안함에 목적이 있다. 본 연구의 주요 방법은 문헌연구를 통하여 윤리와 해체의 개념을 정의하고, 윤리적 패션디자인 및 패션에 적용된 해체주의에 관한 고찰과 사례 조사를 바탕으로 그 특성을 도출하였다. 이러한 이론적 연구와 실증연구에 의한 분석결과를 기반으로 윤리적 패션 디자인 해체 원리와 방법을 구축하였다. 그 결과 윤리적 해체의 패션디자인 개념과 해체주의 패션의 외적 형식 원리를 통해서 시각적인 외적 형식을 고찰하였으며 윤리적 해체의 패션디자인 원리인 이접, 고정관념의 탈피, 자원의 재사용으로 도출하였다, 이를 기반으로 믹스 앤 매치, 전위, 레이어링, 제로 웨이스트, 기능의 전환으로 윤리적 해체 패션디자인 방법을 구축하고 작품으로 구현하였다. 따라서 본 연구는 디자인의 실천적 가치로 윤리성을 주목하고 윤리적 해체 패션디자인 방법을 구축하여 제품으로 제작 가능한 패션디자인을 연구함으로써 친환경중심의 윤리적 패션디자인의 다양한 연구들이 지속되길 기대하고자 한다. In modern society, an interest in environment got to increase on the whole, and the importance of production and consumption ethics is brought to the fore. Hence, this study aims to suggest a possibility of practicing people- and environment-oriented ethical fashion design through establishing ethical deconstruction design procedure and embodying this in fashion design by recognizing the necessity of recycling a vast amount of fashion waste to be dumped and the importance and value of ethical fashion design brought to the fore in society at large. With regard to major methods of this research, through literature review, the ethics and deconstruction was defined. And based on investigation and case study of deconstructionism applied to ethical fashion design and fashion, the characteristics were deduced. Based on the results of analysis according to this theoretical study and empirical study, the principle and procedure of ethical fashion design deconstruction was established. As a result, through the concept of ethical deconstruction fashion design and the principle of external forms in deconstructionist fashion, a visual external form was investigated. It was deduced that this was resource reuse, escape from fixed idea and disjunction, the principle of ethical deconstruction fashion design. Based on this, ethical deconstruction fashion design procedure was established with mix and match, avant-garde, layering, zero waste and transfer of function, and was embodied in work. Therefore, it is intended to hope that various studies on pro-environment-oriented ethical fashion design will continue to be carried out through studying fashion design from which a product can be manufactured by paying attention to the practical value of design and establishing the procedure of ethical deconstruction fashion design.

3D 프린팅 신기술 등장에 따른 패션디자인 보호를 위한 저작권법의 재조명

김도경,정혜련 한국경영법률학회 2020 經營法律 Vol.30 No.2

3D printing technology, digital manufacturing technology, is bringing in creative fashion products and clothing that show “the art of transcending fashion” that differentiate fashion industry products from conventional manufacturing technologies with original and surreal designs, forms and materials. Due to these new technological changes, the fashion industry ecosystem is changing from “manufacturing” to “design”. In addition, if we keep in mind that the development and growth engine of the fashion industry is innovative design, it will be important to motivate designers to continuously develop and create such designs. In Korea, fashion design can be protected by trademark law, unfair competition prevention and trade secret protection law(unfair competition prevention law), design protection law and copyright law. However, trademark law and unfair competition prevention law cannot be regarded as a direct protection of fashion design because it does not protect the design itself. The design protection law protects the design itself, but due to the cost and time required for the registration process, there is a practical problem of a legal protection measure for fashion products that have a short fashion cycle. Furthermore, in the era of 3D printing new technology, the concept of cyclical fashion will be discarded because it is a digital manufacturing technology that enables rapid molding, so the law that can most effectively protect creative design will be copyright law. However, if the popularization of 3D printing allows individual consumers to manufacture fashion products and clothing in the near future, the problem of design infringement will increase. There is a problem that copyright law still lies in the blind spot of copyright protection in evaluating useful articles such as clothing from a reductionist point of view which is judged only as a useful and utilitarian one. Therefore, in order to solve these problems, it is necessary to establish the concept of ‘physical and conceptual separability’, which is a requirement for copyrighted works of applied art. In-depth discussion of the separability criteria requires a paradigm shift starting from the recognition that fashion design is a “creation”. If the possibility of copyright protection of fashion design expands in the future, it would be desirable to establish and resolve the “fair use” judgment criteria suitable for fashion products in order to balance it and solve the concerns of overprotection. 디지털 제조 기술인 3D 프린팅 기술로 인해 패션산업의 제품들을 독창적이고 초현실적인 디자인, 형태, 소재 등으로 기존의 제조기술과는 차별화된 “패션을 넘어선 예술의 경지”를 보여주는 창작적 패션제품, 의류들이 속속 등장하고 있다. 이러한 새로운 기술적 변화로 패션산업 생태계는 “제조” 중심에서 “디자인” 중심으로 변화하고 있다. 또한 패션산업의 발전 및 성장 동력은 참신하고 획기적인 디자인이라는 점을 유념한다면, 이와 같은 디자인을 지속적으로 개발 및 창작하고자 하는 유인동기가 중요할 것이다. 우리나라에서 패션디자인은 상표법, 부정경쟁방지 및 영업비밀보호에 관한 법률(부정경쟁방지법), 디자인보호법, 저작권법에 의해서 보호될 수 있다. 그러나 상표법, 부정경쟁방지법은 디자인 그 자체를 보호하는 것이 아니기 때문에 패션디자인의 직접적인 보호방안이라고 보기 어려우며, 디자인보호법은 디자인 자체를 보호하나 등록절차에 소요되는 비용 및 시간의 문제 때문에 유행의 순환주기가 짧은 패션제품에는 비경제적인 법적 보호방안이라는 현실적 문제가 있다. 나아가 3D 프린팅 신기술 시대에는 신속한 조형을 가능하게 하는 디지털 제조기술이기에 순환적 유행의 개념이 폐기될 것이므로 창작적 디자인을 가장 효과적으로 보호할 수 있는 법제는 저작권법이 될 것이다. 그러나 3D 프린팅의 상용화로 머지않은 미래에 소비자 개개인이 직접 패션제품 및 의류를 제조할 수 있게 되면 디자인 침해문제가 더욱 증가할 것이지만 저작권법은 여전히 “오직 실용적‧기능적인 것으로만 판단하려는 환원론적(reductionistic) 관점”에서 의복 등의 실용품을 평가하기에 저작권 보호의 사각지대에 놓여있다는 문제가 있다. 따라서 이러한 문제점을 해결하기 위한 방안으로 응용미술저작물이 보호를 받기 위한 요건인 ‘물리적, 관념적 분리가능성’ 에 대한 개념을 확실하게 정립할 필요가 있다. 최근 미 연방대법원의 Star Athletica, L.L.C. v. Varsity Brands, Inc. 사건판결에서 정립한 분리가능성 기준을 참조하여 우리나라 법 실정에 맞는 추가적인 논의를 진행하되 그 시작을 패션디자인이 “창작물”이라는 인식에서 출발하는 패러다임의 전환이 요구된다. 향후 ‘분리가능성’의 요건이 완화되어 패션디자인의 저작권 보호 가능성이 확대된다면, 이와 균형을 맞추고 과보호의 우려를 해소시키기 위해 패션제품에 적합한 “공정이용” 판단기준을 정립하여 해결하는 것이 바람직할 것이다.

한국적(韓國的) 패션디자인에 대(對)한 영국(英國) 패션전문가(專門家)들의 인식(認識) 조사(調査)

박혜원 ( Hye Won Park ) 한국패션비즈니스학회 2004 패션 비즈니스 Vol.8 No.2

The purpose of this study is to find the recognition of Korean image fashion design by U.K fashion specialists. U.K is one of the important countries in design field including fashion design since 1960. For this purpose, literature research and focus individual interview research were carried. First, through the researches precedent, it was found that a national image is related with it`s design industry and what is Korean image fashion design, were studied. Second, for individual interviews to 13 U.K fashion specialists, who are teaching and researching in University that has postgraduate course over M.A and had industrial experiences from 7years to 22years, were progressed using open questions and visual image stimulus. The open questions were consisted with four parts : personal educational and industrial background, recognitions about oriental fashion, recognitions about Korean image and Korean fashion design before seeing the visual stimulus, recognition about Korean image fashion design and the characteristics of Korean after seeing the visual stimulus. The results are as follows; First, the 12 U.K specialists have recognized ``oriental fashion`` is one of important fashion trends now a days. Japan and Japanese designers are recognized as a represented nation and designer in oriental fashion by them. Two of the specialists referred to need changing the term ``oriental`` because the term has been used in the sights of western from colonial age and Japanese is not included the oriental any more. Secondly, 11 interviews have recognized nothing about the Korean national image some of them has negative image due to political situation in Korean Peninsula. However 2 interviews who had been Korea before has positive image. In the questions about Korean fashion and Korean fashion designers, 10 of 13 interviews have nothing and negative recognitions. So it was founded that Korean fashion design was recognized as a lower level by U. K. fashion specialists. Thirdly, in the questions about Korean fashion image and the design characteristics of Korean fashion after seeing the visual stimulus, the response was represented two directions. One is about over decorative image through ethnic design and the other is about simple image differ from Japanese. The 13 interviews felt the Korean Image fashion design such like traditional, decorative, opulent, flat cutting, fresh proportion, loose, layering, natural, simplicity, complicate, adventure, easy, stylish, soft, feminine, young image, adult sexy image. The images were analyzed five image groups : adult sexy image, adult ethnic image, natural image, young avant-garde image, young simple casual image. No one preferred the adult sexy image, adult ethnic image and natural image. However 10 interviews preferred young avant-garde group and 13 interviews preferred the young simple casual image. So this group can be understanded and useful informed as one of competitive power in global fashion industry.

패션디자인 전문 인력 양성을 위한 한·미 패션디자인 전공 대학원 교과과정 개설현황에 관한 비교 연구

최경희 ( Kyung Hee Choi ) 한국기초조형학회 2013 기초조형학연구 Vol.14 No.4

본 연구의 목적은 한·미 패션디자인 전공 대학원 교과과정의 개설현황을 비교·분석해봄으로써 글로벌 패션산업 속에서 패션디자인 전문 인력 양성을 위한 기초 자료를 제시하는 것 이다. 이를 위해 22개의 한국의 주요 패션디자인 전공 대학원과 18개의 미국의 대학원에 관한 사례연구를 실시하였다. 본 연구의 결과는 다음과 같다. 첫째, 소속 계열은 한국은 크게 생활과학/자연과학 대학원(HE/NS)과 예술/디자인 대학원(A/D)으로, 그리고 미국은 생활과 학/인문과학/응용과학 대학원(HE/HS/AS) 과 예술/디자인/패션 대학원(A/D/F)으로 구분되어 대 체로 유사하게 나타났다. 또한 명칭은 한국의 경우 HE/NS에서는 ‘의류 학’ 내 세부전공으로 ‘패션디자인’이, A/D에서는 ‘패션디자인’이 가장 많았다. 미국의 경우 HE/HS/AS에서는 ‘Apparel Design’이, A/D/F에는 ‘Fashion Design’이 다수로 나타났다. 둘째, 교육목표 및 강조 점은 한·미가 공통적으로 패션 전 영역에 대한 통합적이고 다양한 교육목표를 지향하며 산 학의 전문 인력 양성을 목적으로 하였다. 그러나 미국은 특히 다양한 리서치를 토대로 한 개별 프로젝트를 강조했다. 셋째, 교과과정은 한국이 세부전공별 교과과정이 따로 분리되어 있지 않은데 반해, 미국은 패션디자인 전공 교과과정이 별도로 제시해 전공심화교육을 내 포하고 있었다. 교과영역별 비율에 있어서도 한국은 영역별 비율이 대체로 유사한 반면, 미 국은 특히 A/D/F 계열에서 압도적으로 패션디자인 영역이 우세한 양상을 보였다. 넷째, 패션디자인 영역의 교과목 사례는 양국이 유사하게 패션디자인, 커뮤니케이션과 포트폴리오, 패션연출, 액세서리 디자인, 텍스타일디자인과 캐드 등으로 나타났으며, 미국에는 특히 개 별 프로젝트나 스튜디오 중심의 교과목이 많이 나타났다. This study aims to compare the curriculum of Korean main fashion design postgraduate schools with that of USA ones in order to develop Korean professional human resource in fashion design. For this, two case studies on 22 Korean fashion design postgraduate schools and USA 18 ones were performed, The results of this study are as follow: First, each affiliation of Korean and USA ones is similarly divided into Human Ecology/Natural Sciences (HE/NS) and Art/Design (A/D) in Korea, and Human Ecology/Human Sciences/Applied Sciences (HE/HS/AS) and Art/Design/Fashion (A/D/F) in USA. On the whole in Korea, the postgraduate courses in HE/NS are called ``Clothing & Textiles`` and fashion design majors in them are called ``Fashion Design,`` and both of them in A/D are ``Fashion Design.`` Meanwhile, overall in USA the ones in HE/HS/AS are ``Apparel Design`` and the ones in A/D/F are ``Fashion Design.``. Second, the educational objectives of Korean and USA ones are similarly to train professional human resources in both industry and academy. But, USA ones tend to emphasize on a self-directed study with researches. Third, many of USA ones suggest a specialized curriculum centering on fashion design area, comparing with Korean ones. Especially, the curriculum in A/D/F is entirely focused on fashion design area. Fourth, the subjects in fashion design area in Korean and USA ones are similarly Fashion design, Communication and Portfolio, Fashion styling, Accessory design, Textile design/CAD, and others. However, USA ones include lots of independent projects and studio-based courses.