Advanced SearchSearch Tips
Characteristics and Categorization of Fashion Films
facebook(new window)  Pirnt(new window) E-mail(new window) Excel Download
 Title & Authors
Characteristics and Categorization of Fashion Films
Kwon, Jeanne; Yim, Eun-Hyuk;
  PDF(new window)
Unlike the past, when fashion brands adopted unilateral communication with their consumers, the brands today have recognized the importance of bi-lateral communication. This has led to the companies producing fashion films as a means to elicit a consensus in opinion between the brands and the consumers. Such fashion films should be understood as films using fashion that transcends time, and also as a type of fashion media. This study, which is based upon the understanding that fashion films are a part of strategic marketing for enhancing the value of brands, used domestic and international literature in order to define fashion films, and establish a theoretical basis for these films. Corroborative study was also conducted for the purpose of practical categorization. This study aims to investigate the characteristics of fashion films, and to suggest a new approach to the study of fashion films. The study adopted the research methodology used in Dudley Andrew's film theory in order to create a theoretical frame that can be used to categorize fashion films. The theory is of significance because it is the basis for the category of motion picture fashion film and media technology fashion film. The study on the categorization and the characteristics of fashion films based upon 6 sub-categories shows a consistent trend of fashion films. From the results, it can be inferred that the films contribute, in part, to the enhancement of brand value. Fashion films have shown rapid growth with the mixture of other media, and with the introduction of cutting-edge technology. Fashion films can be used as new marketing methods for the fashion brands in this digital age.
fashion film;fashion film platform;fashion image;media technology fashion film;motion picture fashion film;
 Cited by
Alexander McQueen F/W (2006, September 24). Retrieved from

Andrea, K. (2013). The Devil of Fashion: Wome, Fashion, and the Nation in Early-Twentieth-Century German and Swedish Cultural magazines. In Hancock, J. H., Johnson-Woods, Toni., & Karaminas, V (Eds.), Fashion in Popular Culture: Literature, Media and Contemporary Studies. Intellect.

Bartlett, D., Cole, S., & Rocamora, A. (2014). Fashion Media Past and Present. Bloomsbury.

Cartier The Proposal (2015, February 2). Retrieved from

Cho, Y. K. (2009), A study on the classification system of the motion in motion graphics, Korea Digital Design Council, 9(1), 121-122.

Cheon, J. E. (2015). Immersive Media Contents Development through the Convergence of Video Technology of Next Generation: Focused on Flattype 3D Hologram, Workshop on Video Processing and Understanding, 27, 1.

Do, K. E. (2014), A study on pop art kidult culture. Journal of Digital Convergence, 12(2), p. 484. doi:10.14400/JDC.2014.12.2.483 crossref(new window)

Diesel 'Liquid Space' Holographic Fashion Show (2007, June 26). Retrieved from

Gareth Pugh A/W (2009, March 4). Retrieved from

Hansen, M. (1994). Babel and Babylon: Spectatorship in American Silent Cinema. Harvard University Press.

Hermes Roulotter - Hand rolling (2011, January 21). Retrieved from

Hermes Super H (2014, November 24). Retrieved from

Hong, Y. J. & Kim, Y. I. (2013). Study on the Digital Storytelling Types and Characteristics of Fashion Designer Brands. The Korean Society of Costume, 63(8), 52.

Hwa, Y. (2013). A study of the emotional expression of motion graphic (Doctoral Dessertation, Yeungnam University, Republic of Korea). Retrieved from

Hwang, S. W. (2014). Special Fashion Film of Park Chan Wook: Collaboration with Ermenezildo Zegna, 10asia,

Jang, R. Y. & Yang, S. H. (2010). 21 Century Video Image Fashion Communication: Focusing on Prada Fashion Animation. The Research Journal of the Costume Culture, 18(6), 1318-1330.

Jang, T. S. (2006). A Study on the basic elements of the motion graphic in the digital media world. The HCI Society of Korea, Conference 2, 1773-1774.

Jensen, R. (2005). Dream Society. (J. H. Seo, Trans.). Readlead. (Original work published 2001)

Jeon, P. G. (1994). Video Documentary Theory: Theory and Practice, Nanam.

Jung, J. S. & Kim, J. H. (2013). A Study of Alexander McQueen’s Fashion Performance. The Korean Society Of Knit Design, 11(3), 89.

Kim, S. H., Shin, D. H., & Kim, E. S. (2014). Integral Imaging and Digital Holography Techniques for Three-dimensional Sensing, Imaging and Display. Korean Journal of Optics and Photonics, 25(4), 178 참고. doi:10.3807/KJOP.2014.25.4.169 crossref(new window)

Kim, S. J. & Ha, J. S. (2015). The study on metareality expressed in digital fashion film. The costume culture association, 23(4), 554-568. doi:10.7741/rjcc.2015.23.4.554 crossref(new window)

Kim, S. M. (2001). Introduction to the Development of Film Theory. Cineforum, 4, 11.

Kim, S. Y. (2013). Aesthetic Characteristics Reflected in Gareth Pugh's Fashion Films. Journal of the Korean Society of Costume, 63(1), 1-15. doi:10.7233/jksc.2013.63.1.001 crossref(new window)

Kim, S. Y. (2014a). A Study on the Utilization of Fashion Animation in the 21st Fashion Brand. The Korean Society of Design Culture, 20(2), 73-86.

Kim, S. Y. (2014b). Case and Value on the Prada's Fashion Communications Through Art Marketing. The Research Journal of the Costume Culture, 22(2), 258-272. doi:10.7741/rjcc.2014.22.2.258 crossref(new window)

Kim, J. T. (1999). Overcoming Lasswell and McLuhan - From Effect.Media Paradigm to Symbolic Exchange Paradigm. Korean Society for Journalism and Communication Studies, 43(5), 113-154.

Kim, J. Y. (2013). Characteristics of Nick Knight's Works as a Fashion Visual Maker. Journal of the Korean Society of Costume, 63(4), 101-117. doi;10.7233/jksc.2013.63.4.101 crossref(new window)

Kim, W. H. & Shim, S. W. (2009), A Categorization of Brand Character in TV Commercials-focus on Narrative and Personification, Korea communication association, 17(3), 14.

Kwon, S. C. (2011). Digital hologram making system using the depth information of an image (Doctoral disseration, KwangWoon Unversity, Republic of Korea). Retrieved from

Lee, E. A. (2008). A study on the changes in the communication between viewers and digital art as experience. Journal of Digital Design, 6(2), 168.

Lee, J. Y. & Kwon, J. S. (2015). Image annotation system for mobile augmented reality environment. Journal of Digital Contents Society, 16(3), 437. doi:10.9728/dcs.2015.16.3.437 crossref(new window)

Lee, K. S. (2012). The Digital Generation and a Cultural Politics Using Social Media. Journal of Korean Social Trend and Perspective, 84, 106.

Lee, S. H. (2006). A Study on the Interactivity of Media Technology. Korea Design Knowledge Journal, 2, 373.

Lee, S. Y. (2013). A study of 3D animation using projection mapping in the space on the utilization. The Korean Society of Cartoon & Animation Studies, 33, 452. doi:10.7230/KOSCAS.2013.33.449 crossref(new window)

Lev, M. (2004). (The)Language of new media. (J. S. Seo Trans.). Seoul, South Korea: Tree of Thinkig. (Original work published 2001)

Louis Vuitton F/W Accessories with Quentin Jones (2013, October 9). Retrieved from

Louis Vuitton Superflat First Love (2009, April 27). Retrieved from

Mijovic, N. (2013). Narrative Form and the Rhetoric of Fashion in the Promotional Fashion Film. Film, Fashion and Consumption, 2(2), 182-183.

MiuMiu Muta (2011. September 30). Retrieved from

Nike Jordan Melo M8 Water Projection (2011, October 24). Retrieved from

No, S. Y. (2014). Digital Art. Jamo.

Paik, J. H. & Bae, S. J. (2012). A Study on the Application of Art and Culture in Luxury Fashion Brand: Focused on PRADA's Case. Journal of Fashion Business, 16(5), 146-163. crossref(new window)

Paik, R. R. (2011). ‘Liveness’ of Performance in the Age of Media Technology. International Association for Humanistic Studies in Language, 13(2), 289-317.

Paik, W. I. (2010). Knowledge, Media and Information in the Age of Digital Reproduction. Korean Association for Communication and Information Studies, 49, 15.

Park, K. D., Kim, T. H., & Jung, J. H. (2013). A study on the transparent screen projection mapping using depaysement. The Journal of Digital Policy & Management, 11(8). 333.

Paul Smith Underwear A/W (2013, October 1). Retrieved from

Ralph Lauren The Official Ralph Lauren 4D Experience - New York (2010, November 12). Retrieved from

Ryu, C. K., Han, H. W., Seo, S. E., An, J. K., & Lee, D. E. (2015). Understanding of Transmedia Storytelling. Ewha Womans Unversity Press.

Seo, J. W. & Kim, J. K. (2014). Convergence of Thinking and Brand Associationg: Focused on art collaboration with Louis Vuitton. Journal of Digital Design, 14(3), 518-519.

Sheridan, J. (2013). Fashion, Media, Promotion: The New Black Magic. Wiley-blacwell.

Shin, C. W. (2004). An Observation of the Visual Language and the Visual Technology according to the Media Technology. Journal of Korean Society of Design Science, 17(2), 15-22.

Shin, D. H. (2015. December 15). Come on, Would you buy my 'taste'?, Retrieved from

Stam, R. (2012). Film Theory. (B. C. Kim, Trans.). Seoul, South Korea: K-books. (Original work published 2000)

Stella, B. (1995). Film and Fashion. Sight and Sound, 5(6), 10-15.

Stella, B. (2013). Fashion Cultures Revisited: Theories, explorations and analysis. Routledge.

Uhlirova, M. (2013). 100years of the Fashion Film: Frameworks and Histories. Fashion Theory, 17(2), 137-158. crossref(new window)

Yoo, J. Y. (2004). A Study on Space Expression According to the Production Characteristics of Reflex Media. Korean Institute of Interior Design, 13(6), 180.

Yoon, T. J., Lee, C. H., & Lee, H. K. (2003). Changes of conception of time/space and of the public/private life with the introduction of new media technology. Korean Association for Broadcasting & Telecommunication Studies, 57, 179-207.