To compete with the growth of fashion shopping platforms in the online fashion market, general shopping platforms have begun to expand their product categories to include fashion items. This research examines the characteristics that influence consumers’ trust in each of these platforms and their intention to reuse them. Applying the concept of platforms, this study also distinguishes between general shopping platforms and fashion shopping platforms and compares their characteristics. This study surveyed 788 consumers in their 20s and 30s with experience in using general shopping platforms or fashion shopping platforms (389 and 399 respondents, respectively). SPSS was used to conduct frequency analysis, factor analysis, and cross-tabulations, and AMOS was used to conduct confirmatory factor analyses and structural equation analyses. The results were as follows: platform reputation, shopping convenience, and interactivity all influenced consumer trust. For fashion shopping platforms, the product quality factor significantly improved consumer trust. However, for general shopping platforms, the product quality factor only influenced reuse intentions to reuse and did not contribute to improving trust. Platform reputation and information offering have influenced reuse intentions for both shopping platforms. Regardless of the type of shopping platform, platform reputation has influenced reuse intentions and consumer trust, and platform esthetics didn’t have affect consumer trust and consumers’ reuse intentions. Consumer trust influenced the intention to reuse on both platforms.

메타버스가 휴먼 디지털 세계를 여는 새로운 시장에서, 애니 메이션 산업 시장은 트렌디한 창의적 애니메이션 이미지가 필 요하며, 시장의 가치 전환에 부응하여 애니메이션 산업 발전이 추진되어야 한다. 애니메이션 IP 트렌드 창작의 목적은 애니메 이션 시장 경제의 새로운 발전을 주도하고, 트렌드에 맞는 시 각적 이미지로 표현하여 해당 시장에서 부가적인 파생상품으로 전환함으로써, 애니메이션 IP 트렌드 창작의 실제적인 시장 가 치를 구현하는 것이다. 본 논문은 메타버스의 배경하에서 애니메이션 IP 트렌드 창 작의 위치와 유형, 표현 형식을 논의하고, 트렌드 창작 표현 및 가치 전환의 범위 내에서 전개되는 애니메이션 IP에 대해 알아 보았다. 본 연구 목적은 애니메이션 IP의 전환 절차와 방법을 탐색하고 애니메이션 IP 전환 과정에서 성공적인 사례를 요약 하고 혁신적인 전환 아이디어를 제안하는 것이다. 본 연구는 문헌조사, 사례분석 등 다양한 방법을 채택하고 있다. 애니메이 션 IP 전환의 정의와 의미, 애니메이션 IP 전환 절차 및 방법, 성공적인 애니메이션 IP 전환 사례 분석 및 전환에 대한 혁신 적인 아이디어 연구에 중점을 두고 있다. 애니메이션 IP가 시 장 현황과 전망 하에서 창의적인 형태로 새롭고 트렌디한 산업 시장을 개척해 나가고, 동시에 애니메이션 산업의 지속 가능하 고 건강한 발전을 촉진하기 위해 NFT‘지루한 원숭이(无聊猿)’ 와 같은 새로운 형태의 표현과 가치변환을 끊임없이 창출해내 야 한다. 연구 결과는 다음과 같다. 애니메이션 IP의 전환은 문 화 창조 산업의 발전과 개혁을 촉진하는 데 중요한 의미가 있 으며, 애니메이션 IP 전환의 절차와 방법은 다양하고 적절한 전환 방법을 선택해야 한다. 성공적인 애니메이션 IP 전환 사 례 모델 및 요소를 정리하고 향후 전환을 위한 참고 자료를 제 공하고자 한다. 창의성은 애니메이션 IP의 전환을 촉진하는 중요한 수단이며 애니메이션 IP 전환의 성공을 위해서는 지속적 인 시장 혁신과 기술혁신이 필요하다. 애니메이션 산업의 지속 적이고 건강한 발전을 촉지하기 위해서이다.

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr’s image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

To analyze the status and needs of the small- and medium-sized garment manufacturing industry in Busan, this study comprised an online survey of companies and interviews with 14 representatives of the 98 companies. The results are as follows: Approximately 34.7% of the garment manufacturers were located in Geumjeong-gu, Busan. The most common type of work was the contracting factory type. Daily production output was between 100pcs and 300pcs. Production materials comprised 42.9% woven and 24.8% knitted fabrics. Main products were menswear, uniforms, womenswear, casual wear, sports and leisure wear, protective clothes, and children’s clothing. The main clients were uniform companies, main factories, wholesale markets, online shopping malls and promotion companies, exporters, and department stores. As a result of a survey on industrial needs with company representatives, their satisfaction with company employees was 57.2%, and the most important factor when hiring employees was job-related competencies, among which the ability to understand the sewing process was the most necessary. In terms of computer software literacy, illustrations and pattern CAD/CAM are required. They thought industry-university cooperation is crucial for advantage for advantage research and product development, as it allows for the sharing knowledge, resources, and especially human resources. The greatest administrative issue were human resources and funding.

This study conducted in-depth interviews with experts to implement Hanbok shows on metaverse, which can contribute to the succession and development of Hanbok design and to establish a platform that fits the reality of the Hanbok industry and consumers. In-depth interviews were conducted to collect opinions from experts, and the derived contents were divided and analyzed using an affinity diagram. Experts were positive about the use of the metaverse platform of the Hanbok show in terms of impact, accessibility, exposure, virtual fitting, issuance of NFTs, and promotion of Hanbok brands. As a result of verifying the validity of the four components of metaverse, experts highly evaluated the possibility of using Hanbok shows in the order of virtual reality, augmented reality, mirror world, and lifelogging. Visuality, influence, marketing efficiency in virtual reality, immersion in augmented reality, fantasy and artistic elements, expression, diversity, and abundant experiences were expected. The platform’s requirements emphasized realistic implementation equipment and technology, collaboration between Hanbok designers and producers, in addition to government support. Results of this study showed that appropriate target was analyzed to be in the 10–30s, and the appropriate price range was found to be able to sell at a discount of 40–80% compared to offline. This study provides useful implications for the service development of metaverse content, which will also be actively used in the Hanbok field, and can be used as basic data for reviving the Korean Hanbok industry and strengthening international competitiveness.

Controlling fashion waste throughout the entire product lifecycle is critical in a circular economy. This study explored the possibility of establishing a public recycling system for fashion waste. Since consumer interests and participation are essential, theoretical research, social-text analysis, and quantitative research were conducted to identify consumers’ perceptions of the public recycling of fashion waste and circular fashion. Data were collected via an online survey among women in their 20–30’s living in Korea, and 304 samples were used for data analysis. The results were as follows. First, consumers’ perceptions of recycling fashion waste were composed of recycling difficulty, the need for public recycling, and the need for EPR. Circular fashion perception comprised favor, environment protection, attractiveness, economics, quality and hygiene risks, and lack of diversity. Second, the reuse-recycle attitude and need for EPR affected the favor of all types of circular fashion products. Third, environmental concerns impacted attractiveness, and the favor significantly affected the purchase intention of all types of circular fashion products. In particular, quality and hygiene risk negatively affected the purchase intention of used-fashion products, while attractiveness positively impacted the purchase intention of upcycled-fashion products. The results implied that discussing the public recycling system of fashion waste and EPR policy is imperative. The results also showed the need to classify different types of circular fashion products, such as used, upcycled, and regenerated fashion items, to examine consumers’ perceptions. In addition, the recycling of the fashion waste scale developed in this study could be used for further research.

지능형 컴퓨팅의 등장으로 빅데이터를 활용한 패션 브랜드 의미 마이닝과 가치 홍보에 초점을 맞춘 새로운 연구 트렌드가 등장하였다. 본 연구의 목적은 인기 여성복 브랜드 5개를 대상으로 다양한 종류의 의류에 대한 소비자 감성 트렌드를 조사하는 것이다. 유니클로, 에이치스타일, 베로모다, 피스버드, 온리. 이를 위해 총 93,550건의 소비자 평가를 수집하고, 키스멧 감성 분석 엔진을 활용하여 의류 유형별 감성 극성도를 분석하였 다. 그 결과, 브랜드에 따라 감정 극성이 크게 다르다는 것을 알 수 있었으며, HSTYLE 후드티, ONLY 니트웨 어, 피스버드 순면, 유니클로 니트가 각각 소비자들에게 가장 강한 긍정적 감정을 불러일으켰다. 또한 이번 연 구에서는 각 브랜드에서 가장 인기 있는 의류 유형과 착용 효과를 밝혀 패션 기업이 효과적인 마케팅 전략을 수립하고 제품 제공을 강화하는 데 중요한 인사이트를 제공했다. 이러한 연구 결과를 바탕으로 게임 업계에서 는 감성 분석을 적용하여 다양한 게임 브랜드, 장르, 게임 플레이에 대한 플레이어의 감정 반응을 이해하고 게임 프로모션 전략과 제품 디자인 개발에 도움을 줄 수 있다. 전반적으로 이 연구 결과는 디자인 분야에서 빅데이터의 잠재력을 입증하고 업계에서 경쟁 우위를 확보하기 위해 빅데이터를 활용하는 것이 중요하다는 점을 강조할 수 있다.

본 연구는 코로나19 팬데믹이 한국 소비자의 패션소비지출에 미친 영향을 파악하고자, 코로나19 전후 기간에 한국 가계의 패션소비지출의 변화를 살펴보고 세대와 소득수준에 따라 그 변화를 비교하였다. 연구문제의 검증을 위해 통 계청의 가계동향자료를 토대로 2018년부터 2021년까지 가구의 소득, 소비지출액, 소비지출 중 패션소비지출액을 추출 하였고, 추출된 자료로 소득대비 패션소비지출 비율, 지출대비 패션소비지출 비율이 계산되었다. 세대는 Z세대, M세 대, X세대, 베이비부머 세대, 사일런트 세대로 구분되었고, 소득수준은 가계소득 5분위를 기준으로 해당하는 소득분위 로 구분되었다. 연구 결과, 코로나19 이후 소득대비 패션소비지출 비율은 감소하였으며 소득분위에 따라 통계적으로 유의한 차이가 나타났다. 또한 가구의 지출대비 패션소비지출 비율은 코로나19 발생 이전과 이후 기간을 비교한 결과 유의한 차이가 있었으며, 세대에 따른 차이도 유의한 것으로 나타났다. 그러나 소득분위에 따른 차이는 없었다. 가구 총지출액 중 패션소비지출이 차지하는 비율은 패션소비가 차지하는 중요도를 의미하는 것으로, 코로나19 이후 소비영 역의 중요도가 변화하였음을 나타내며, 세대에 따른 중요도의 차이가 존재하였다. 본 연구의 결과는 팬데믹 상황과 같은 소비에 영향을 미치는 거시적 환경의 변화에 따라 향후 소비의 변화를 예측하는데 도움이 될 수 있을 것이다.

This study analyzes traditional women’s Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the “moment” theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

This study examines how the concept of gender fluidity—viewing gender identity as a fluid and wide spectrum—is represented in modern knit fashion collections. The period spring/summer 2017–fall/winter 2021, when gender-related fashion keywords started attracting attention, was limited to the last five years, and the results of a case analysis focused on a total of 357 knit fashion photos are as follows. First, the androgynous compromise through the mixing of heterogeneous elements appears as a mix-and-match style due to the patchwork of heterogeneous materials and forms that borrow or share masculinity and femininity. Second, it was confirmed that the dismantling exaggeration caused by the destruction of the size and form of clothes was an avant-garde image that exaggerated the size or length of clothes or destroyed ideas and forms. Third, the exposed sensuality caused by the deformation of the fluid knitting technique was shown in the form of proudly expressing sexuality by exposing the body either using the cut-out technique or through the loose texture of the knit. Knit fashion can highlight decorative effects using handcrafted techniques and express a detailed or coarse sense of organization depending on the density. In addition, since it is possible to create a complex image by juxtaposing and mixing various knit structures, it was confirmed that it is a suitable material for expressing gender fluidity flowing between men and women in fashion.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

Zero-waste pattern cutting is a groundbreaking sustainable fashion practice. However, few brands and designers have pursued this method because it requires creative pattern design that diverges from the existing process of using pattern slopers. Therefore, application within the fashion industry is not sufficient. Therefore, in an attempt to highlight the key characteristics of zero-waste pattern design, this study classifies and analyzes cases in which similar designs employ zero-waste pattern-cutting techniques. We hope to make zero-waste pattern design more accessible by presenting realistic pattern-cutting guidelines. To this end, theoretical research on relevant literature, previous research, and online resources and an empirical analysis of cases involving zero-waste pattern cutting were conducted in parallel. As a result of the study, we were able to classify the factors of zero-waste pattern design in terms of fabric use, design, and composition. Regarding materials, our research revealed the importance of appropriate fabric width, understanding the difference between waste minimization and minimal fabric use, and easy reuse and recycling. In terms of design, the simultaneous progress of pattern and design work, adjustable loose silhouettes, and the use of surplus fabric for functional and decorative details emerged as key characteristics. For composition, we found that size adjustment limits, arrangement irregularity, and pattern shapes were crucial elements and that various arrangements revealed unlimited design potential.

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers’ collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun’s collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard’s four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre— due to the development of photography technology and the photographer’s artistry— appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photographs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

The environment has increasingly attracted attention and fashion brands need to use new growth models by developing eco-friendly products, along with the drastic climate change. This study drew design guidelines from the factors of clothing disposal and reuse to propose ways to extend the longevity of clothing. It sets the design goals for the longevity extension of clothing as flexibility, originality, durability, and adjustability and drew a specific design guideline. The design methods used to achieve such goals are as follows. First, the design that is flexible in terms of physical changes needs to increase its activity and to be changeable, by applying pleats, rubber bands and elastic materials to the parts with many physical changes and movements. Second, it is necessary to reinforce the brand identity, create design that is flexible in terms of fashion and design very rare and attractive products, for the goal of original design beyond fashion. Third, it is necessary to increase the quality of clothing and improve the durability which can be decreased by washing and wearing. Fourth, it is necessary to create the design that can produce various styles, preserve the state of clothing and maintain its hygienic conditions by using removable detailed designs, shape-transformation designs and the designs which can be adjusted to climate changes and states, for the goal of adjustable design with better functionality. The findings provide ideas for fashion experts to pay more attention to the extending the longevity of clothing products and to develop eco-friendly designs and strategies.

The purpose of this study was to propose the direction of veganism-based fashion design in environmental and animal protection through the theoretical consideration of vegan fashion and the analysis of the practical design characteristics of veganism in Stella McCartney’s fashion. The research was conducted through literature research and case studies. After investigating the concept and characteristics of vegan fashion, focusing on previous studies and various fashion-related Internet data, Stella McCartney’s fashion was examined with particular attention on vegan characteristics. The results of the study are as follows: First, imitative nature pursues animal and environmental protection, but the motif or appearance is a characteristic of pursuing a multi-purpose design that imitates animals and nature. Second, expression of value is based on slow fashion, simplicity, and sustainable minimal design. It is expressed indirectly by pursuing permanence, simplicity, and long-wearable design, or directly expressing vegan values through phrases expressed in performances or costumes in the collection. Third, alternative eco-friendliness is characterized by using cruelties-free materials such as faux fur, recycling materials, new bio-materials, and regenerated materials. These vegan characteristics are comprehensively and organically expressed in the works of the collection, and through this, sustainable and eco-friendly vegan fashion is pursued. It is anticipated that by deriving the vegan fashion characteristics of Stella McCartney, who represents vegan fashion, it will be possible to provide the basis for practical direction and design methods for fashion brands aiming for vegan fashion styles.

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers’ designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers’ design characteristics through Greimas’ Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas’ and Floch’s semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas’ semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of “futurism.” Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

The purpose of this study is to suggest effective online pedagogical strategies for a fashion design CAD course to enhance student learning and satisfaction. The study investigated student experience of online learning and compared online learning with a face-to-face learning experience. Student concentration, participation, perceptions of effectiveness of teaching, utilization of learning materials, and satisfaction were analyzed using a 5-point Likert scale. Advantages and disadvantages of online learning as well as advantages of face-to-face learning were also analyzed both quantitatively and qualitatively. Student concentration, participation, and perception of effectiveness of teaching were greater for face-to-face learning with significantly higher concentration on individual practice. Students utilized video recording of synchronous online lectures more actively than PDF lecture notes. The advantages of face-to-face learning were plentiful communication and feedback and easy questioning process as well as high levels of understanding and concentration. Meanwhile, major disadvantages of online learning were the speed of the lecture, lower levels of understanding and concentration, limited peer interaction, and technical problems. Major advantages of online learning were flexibility and convenience, repetitive learning through videos, and instant communication and feedback. Students preferred a blended learning approach for the fashion design CAD course. For effective online learning, it is suggested that instructors frequently question and check student practice through screen share in a private online meeting room and engage activities that are demanding of student interaction. The video recording of synchronous online lectures is also suggested as a supplemental learning material for repetitive learning.