ㅊThis study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology—relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect— can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

Today, customers have more authority thanks to digital tools, and extensive information access. Customers use technology to hold companies accountable and utilize consumer rights. Personal data and information can be generated, stored, and exchanged almost indefinitely through digital and the Internet. In particular, maintaining a digital environment requires facilitating collaboration and simplifying decision-making, and companies need structures and plan to facilitate faster, easier, and more efficient flows. This study focuses on the impact of Corporate Digital Responsibility-based ESG fashion brand activities on purchasing intentions, and we will present suggestions after identifying value congruence, brand trust, and attitude effects on CDR-based ESG fashion brand activities.

The wide application of digital media technology in fashion shows has become the epitome of the development and innovation of today's fashion industry, enabling designers to break through the constraints of time and space, changing the performance of today's fashion shows, and making them present unprecedented new features. With the development of information technology, the integration of emerging digital technology and the fashion industry is accelerating. So far, separate studies have been carried out in various academic fields on the combination of Metaverse and NFT, but the current status and nature of relevant research are still incomplete. Furthermore, the current research on virtual fashion shows and NFT in China's apparel industry is limited. The purpose of this study is to investigate the influence of digital fashion marketing stimulation on consumer brand attitudes using the stimulation-organ-response (SOR) framework model. By analyzing 77 cases of virtual fashion shows in China, this study obtained antecedent variables and designed a research model. An online sample of 300 Chinese Gen Z consumers was collected and analyzed using SPSS and FSQCA. This research hopes to provide valuable information for the sustainable development of China's fashion industry, and to help Chinese fashion brands confirm the future market development direction of Metaverse and NFT.

Non-fungible tokens (NFTs) exploded onto the global digital landscape in 2020, spurred by pandemic-related lockdowns and government stimulus (Ossinger, 2021). An NFT is a unit of data stored on a blockchain that represents or authenticates digital or physical items (Nadini, 2021). Since it resides on a blockchain, NFTs carry the benefits of decentralization, anti-tampering, and traceability (Joy et al., 2022). Fashion brands quickly capitalized on these features, launching fashion NFT collections and garnering significant profits from the sale of fashion NFTs in 2021 (Zhao, 2021). For example, Nike’s December 2021 acquisition of RTFKT (pronounced “artifact”) resulted in USD 185 million in sales less than a year after their acquisition (Marr, 2022).

Today, the metaverse is everywhere; it has become a major buzzword. The term was first coined in an American writer’s 1992 science fiction novel, Snow Crash, as a portmanteau of meta (Greek prefix meaning beyond) and universe. Nearly three decades later today, it is no longer the setting of a science fiction epic. Rather, it is becoming as real as the physical world. In the current time, the metaverse is used as a concept to describe a seamless convergence of the physical and digital worlds, or a virtual community where people can work, play-to-earn, transact and socialize (J.P. Morgan, 2022).

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.

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 aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.