i Preface Welcome to the Volume 12 Number 1 of the International Journal of Design, Analysis and Tools for Integrated Circuits and Systems (IJDATICS). This volume is comprised of selected research papers from the International Conference on Recent Advancements in Computing in Artificial In telligence, Internet of Things and Computer Engineering Technology (CICET), October 24 - 26, 2022, Taipei, Taiwan. CICET 2022 is hosted by The Tamkang University amid pleasant surroundings in Taipei, which is a delightful city for the conference and travelin g around. CICET 2022 serves a communication platform for researchers and practitioners both from academia and industry in the areas of Computing in Artificial Intelligence (AI), Internet of Things (IoT), Integrated Circuits and Systems and Computer Engin eering Technology. The main target of CICET 2022 is to bring together software/hardware engineering researchers, computer scientists, practitioners and people from industry and business to exchange theories, ideas, techniques and experiences related to all aspects of CICET. Recent progress in Deep Learning (DL) has unleashed some of the promises of AI, moving it from the realm of toy applications to a powerful tool that can be leveraged across a wide number of industries. In recognition of this, CICET 2022 has selected Artificial AI and Machine Learning (ML) as this year’s central theme. The Program Committee of CICET 2022 consists of more than 150 experts in the related fields of CICET both from academia and industry. CICET 2022 is organized by The Tamkang University, Taipei, Taiwan, and co - organized by AI University Research Centre (AI - URC) and Research Institute of Big Data Analytics (RIBDA), Xi’an Jiaotong - Liverpool University, China as well as supporting by: Swinburne University of Technology Sarawak Ca mpus, Malaysia; Taiwanese Association for Artificial Intelligence, Taiwan; Trcuteco, Belgium; International Journal of Design, Analysis and Tools for Integrated Circuits and Systems, International DATICS Research Group. The CICET 2022 Technical Program inc ludes 1 invited speaker and 30 oral presentations. We are beholden to all of the authors and speakers for their contributions to CICET 2022. On behalf of the program committee, we would like to welcome the delegates and their guests to CICET 2022. We hope that the delegates and guests will enjoy the conference. Professor Ka Lok Man, Xi’an Jiaotong - Liverpool University, China Professor Young B. Park, Dankook University, Korea Chairs of CICET 2022 Vol. 12, N o. 1, January 2023 ii Table of Contents Preface ................................ ................................ ................................ ................................ i Table of Contents ................................ ................................ ................................ ............... ii 1. Jaeeun Kim, Hyonjun Kang, Mincheol Shin and Mucheol Kim, Implementation of Flood Hazard Area Construction with Dynamic Geofencing, Chung - Ang University, Seoul Korea 1 2. Swathi Anagondanahalli, Woon Kian Chong, Irina Pismennaya, Digital Fashion: Influence of K - Pop and go - to market strategy in the Metaverse , SP Jain School of Global Management, Singapore 4 3. Zhao - Yang Ni, Yu Su and Chii - Jen Chen, Electric Car Positioning to Prevent Car Accident Using a Smart APP Warning System , Tamkang University, Taiwan 10 4. Yuija Zhai and Thanasis Theodorou, Automatic Randomization in Assignment Question Design , University of Hertfordshire, UK 13 5. San - Hao Tsai, Shwu - Huey Yen and Hui - Jen Lin, Distilling One - Stage Object Detection Network via Decoupling Foreground and Background Features, Tamkang University, Taiwan 16 6. Wei - Chien Tai, Shwu - Huey Yen and Yihjia Tsai, Image Outpainting Based On Attention Model, Tamkang University, Taiwan 19 7. Wu Chengze, Wan Yamei, Li Wenbin, Kamran Siddique, An Overview of Adaptive Metadata Prefetching Scheme, Xiamen University Malaysia 26 8. Yuanyuan Luo, Chenxi Qin, Wenyu Zhang and Kamran Siddique, Design and Implementation of a Single - Cycle MIPS Processor , Xiamen University Malaysia 30 9. Shicheng Liao, Hua Zhong, Wenchong Wu, and Yungang Zhang , Lightweight Rotating Target Detection Model Based on Feature - Aligned Pyramidal Networks , Yunnan Normal University , China 35 INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12 , NO. 1, JANUARY 2023 1 I mplementation of F lood H azard A rea C onstruction with D ynamic G eofencing Jaeeun Kim, Hyonjun Kang, Mincheol Shin and Mucheol Kim Abstract : In modern society, urban inundation occurs frequently due to urbanization. Transmission of relevant information greatly affects flood risk awareness improvement and can prevent flood damage. However, the current disaster information transmission system del ivers information in regional basis. Also, the area for information transmission cannot be set up in real time. To solve this problem, we implemented the dynamic flood hazard area construction framework, an area setting framework for the service that trans mits information to the areas where flood related information is needed. The framework uses historical flood spatial data to establish flood risk areas and dynamically update it. It is possible to cope with flooding that occurs simultaneously in a wide ran ge. In addition, it is possible to transmit detailed information by generating geofences step by step. Through the framework, it is possible to reduce flood damage by transmitting detailed information to the actual flooded areas and areas that need informa tion. Keywords: dynamic geofencing, flood risk, concurrent execution I. INTRODUCTION In modern society, the social structure has been reorganized around cities [1] Due to the population concentration by urbanization and the capacity limitation of the drainage f acility , urban inundation occurs frequently [2]. T he lack of response to changes in rainfall by climate change will intensify the urban inundation [3][4]. Since flooding is unavoidable, it is necessary to cope with the damage with appropriate mit igation maneuver [5] F lood risk awareness of crowds m ainly c ome from relevant information and p ast experiences [6][7]. The low level of preparedness due to the lack of information, wrong or delayed response are combined to cause hazards when the actual flooding occurs [6][8]. Therefore, it is important to transmit relevant information in the flooding [5][9]. However, the current disaster information transmission system has a problem in transmitting information on a regional basis. It can cause an imbalan ce in information transmission and problems that transmit information where information is not required, or information is not transmitted to where information is required [10]. Moreover, the set up of the flooded area is often established through a questi onnaire after a disaster or through a complex simulation model [11] T herefore, we implemented a geofencing constructing framework for information transmission service which transmit information to required area. Framework named dynamic flood hazard area construction uses historical flo od hazard data to construct the geofence of flood hazard area and update it dynamically. Concurrency is available with respect to the nature of flooding that occurs simultaneously in a wide range and their i nteractions can be considered. Also, real - time op eration is retained because it does not go through some complex parameter operations. I n summary, the contributions of this study are as follows: • I mplementation of geofencing framework for the transmission of information to area which flood hazard exists. • Possible to respond to the interaction of flood that occurs concurrently T his paper is structured as follows: c hapter 2 consists of released work, c hapter 3 methodology, c hapter 4 experiments, and c hapter 5 conclusions. II. RELATED WORK FLOOD RISK AWARENESS Flood Risk The most common definition of flood hazard is the product of the hazard (e.g. intensity of damage by flooding) and the vulnerability (e.g. probability of damage and weakness), means expected damage of specific incident [12]. Flood Risk Awareness The components of flood risk awareness are: (1) awareness of living in an at - risk area; awareness of flood warning systems, codes and methods of dissemination; (3) awareness of appropriate action to take in the event of a flood or flood warning [13]. Meth ods such as awareness campaigns and risk communication can be used to increase flood risk awareness. However, since these methods are performed in a top - down manner, their effectiveness is largely unclear due to cultural differences or lack of local charac teristics [6]. The agent - based management (ABM) method, which views individuals as agents, is widely applied to cope with these problems [14]. GEOFENCE Geofencing is a location - based service that creates a virtual fence (geofence) in a geographic area and automatically detects when the tracked mobile objects enter or exit these areas. It can be applied to various fields related to the geo - trackable objects [15]. With the generalization of mobile All authors are with the Department of Computer Science and Engineering, Chung - Ang University, Seoul, Republic of Korea (email: mindal99@cau.ac.kr , fender2758@cau.ac.kr , mcsin1648@gmail.com , kimm@cau.ac.kr ) INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12 , NO. 1, JANUARY 2023 2 devices, geofencing has become a common, popular service for m any businesses especially in marketing and social media [16]. Besides the static geofencing, dynamic geofencing which updates the geofence area in time is frequently utilized in the UAV (Unmanned Aerial Vehicles) fields. By flexibly reconstructing the mova ble area according to the movement of UAVs, it can successfully perform their given missions by path planning or setting of no - go area of UAVs [17]. III. METHODOLOGY Chapter 3 introduces the d ynamic f lood h azard a rea c onstruction f ramework. One cycle of the fra mework consists of two main steps: polygon construction and its update. In the first stage , a polygon of the first phase zone is constructed using the flood hazard map. Then, perform a polygon update step using the first phase zone and the former second phase zone created in the previous cycle In this way, the framework that has finished one cycle creates a geofence step by step, and the result is used again for the next cycl e The framework creates geofence areas in two stages according to the expected flood risk level and the expected flood risk awareness. It is possible to provide more detailed and realistic information through step differentiation. First phase zone The fir st phase zone is the area with the highest risk of flooding and is created through a polygon construction stage. The area is prone to experience flooding directly, also residents have high flood risk awareness due to past experiences and observations. S eco nd phase zone The second phase zone is the area which has an intermediate level of risk of flooding. Although it is unlikely to experience flooding directly, but residents should be aware of flooding and prepare inundation due to extreme flooding. This are a changes due to the transmission of information through the movement of the residents of the first phase zone. In other words, it transmits flood risk awareness and serves as a buffer zone that prevents the influx of additional residents. POLYGON CONSTRUC TION In the polygon construction step, the most risk - prone area is defined by using a flood hazard map which has spatial distribution information of the past flood hazard. Due to the nature of flood damage, numerous hazardous area can appear simultaneously over a wide range. It may be difficult to guarantee real - time performance due to the problem of computation time. Therefore, the convex hull operation is performed based on the flood hazard map. The amount of computation can be reduced by simplifying the complex hazard area into simple convex polygons. Therefore, real - time performance can be guaranteed by reducing the amount of computation. In addition, it is possible to create more robust area in the case of extreme flood than the past hazard area by conv ex polygons POLYGON UPDATE In this section, we construct a geofence that can cope with the varying flood hazard through dynamic area reconstruction via polygon update. Concurrency system Due to the nature of flooding which can occur simultaneously in a lot of hazardous areas in a wide region, there is a risk of real - time violation due to an increased calculation time. Therefore, the framework uses only information related to flood hazard in the polygon update step. It can process multiple regions at once th rough concurrency and transmitting information about the relationship between polygons overlapping each other. Polygon update Through the polygon update formula, the second phase zone can be stretched or contracted flexibly. The formula uses the first phas e zone and the former second phase zone to create a newly updated second phase zone. Since it is not smaller than the flood hazard map, it is possible to guarantee the area that requires minimal flood risk information transmission. Also, it can prevent an increase in computation during subsequent updated by preserving polygon properties. IV. EXPERIMENTS CASE STUDY Busan is one of the most flood - prone cities in Korea. It is a large city with an area of about 769.89 km ² and about 1.55 million inhabitants. It is l ocated in the lower reaches of the Nakdong River and is a port city facing the sea over a wide area. Busan is an area where a lot of rain is concentrated due to the rainy season between June and August and is frequently damaged by typhoons and heavy rain [ 18]. The reason why Busan is selected is because it is flooded frequently by typhoons and heavy rains, also it is a large city in contact with rivers and seas. EXPERIMENT F lood Hazard Map Flood hazard map from the Korea Land and Geospatial Informatix Corpo ration(LX) provided by the Open Government Data of the Korea was used. Fig. 1 The result of first phase zone construction. (A) is the raw flood hazard map and (B) is the first phase zone constructed by convex hull operation. First Phase Zone Construct a first - phase zone polygon by convex hull operation on the flood hazard map. The raw flood hazard map of Busan has 391 flood hazard areas (in Figure 1 (A)). As a result of the convex hull, 124 of first phase zone polygons are construc ted (in Figure 1 (B)). It shows that a valid flood risk area can be extracted through convex hull operation Fig. 2 The result of second phase zone update. (A), (B), (C) depicts the update by time of the second phase polygon. INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12 , NO. 1, JANUARY 2023 3 Second Phase Zone Construct a dynamic geofence via polygon updates using the first phase zone and second phase data from the previous cycle. It can be seen that the geofence area dynamically changes with the passage of time (in Figure 2). In addition, it can be seen that the geofence update is done by reflecting the regional characteristics of the flood through the change without losing the characteristics of the polygon. V. CONCLUSION I n this study, the d ynamic f lood h azard a rea c onstruction f ramework was implemented for the transmission service to provide flood information in preparation for urban inundation. F ramework constructs hazard ous areas of geofence using flood hazard maps, which are historical flood area data, and dynamically updates them. I n addition, concurrency is possible according to the characteristics of flood ing and the interaction between hazard areas can be considered B y reducing parameters, real - time operation can be possible and detailed information about risk level can be transmitted by constructing a geofence area step - by - step S etting up a dynamic geofence through our framework, flood - related information can be delivered to the actual flood damage area and areas requiring flood risk awareness, and further damage can be re duced through appropriate damage response. ACKNOWLEDGMENT This research was supported by a grant(2021 - MOIS37 - 004) of Intelligent Technology Development Program on Disaster Response and Emergency Management funded by Ministry of Interior and Safety(MOIS, Ko rea). REFERENCES [1] Brenner, N., Marcuse, P., & Mayer, M. (2009). Cities for people, not for profit. City , 13 (2 - 3), 176 - 184. [2] Prosdocimi, I., Kjeldsen, T. R., & Miller, J. D. (2015). 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A disaster yearbook INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12, NO. 1, JANUARY 2023 4 Digital F ashion: Influence of K - Pop and G o - to M arket S trategy in the Metaverse Swathi Anagondanahalli , Woon Kian Chong , Irina Pismey a Abstract — The Metaverse is a new world of opportunities and limitless possibilities. The real - world impossibilities can be seen possible in the virtual world like international virtual concerts, global launch of albums etc. We see celebrities engaging well with their fans in thi s space and it cuts the noise from other oversaturated platforms. K - Pop celebrities have been actively involved in launching their unique collectibles, N FTs and digital fashion. A huge influence of K - Pop stars has led to the increasing popularity and engag ement of users on the Metaverse. Digital fashion on the Metaverse is found to be good match that brings Fashion to the world with innovation, that has not occurred in the industry in a long time. Digital fashion could be the next goldmine for fashion brands, as it’s the convergence of fashion with crypto technology for users with continuously evolving needs. As Fashion plays a huge role for users to express their identities, “Avatars” is the new street wear and N FTs are the couture of the Metaverse. While the experts of the industry have a positive take on this, the users currently don’t seem to accept the same. The space of digital fashion maybe hug ely misunderstood by the majority for a long period from now, and so was the idea of being able to fly a plane or drive a car, a few centuries ago. Until the majority of people accept, adopt and embrace these changes with a need that could be fulfilled for them, the ambiguity will always exist around digital fashion. Index Terms — Digital fashion, Metaverse, N FTs, K - Pop, Avatars 1. INTRODUCTION We have always seen examples of fashion labels aping the west in fashion, but here was a classic example of the reverse. [1] Also, Dior has always marketed itself as a premium luxury brand that could be accessible to a very exclusive customer segment, but this move by the brand signifies inclusivity of a highly popular culture from the east and more target consumers with the gr owing fandom of K - Pop trend. By 2021, the boom in gaming industry also influenced the virtual fashion as gamers dress up their “Avatars” with the latest styles, skins and also integrating gaming with luxury fashion, resulting in premium gaming merchandise. An iconic integration was when Gucci launched as the first luxury fashion brand on the Metaverse with Roblox in May 2021, and created the Gucci Garden space on the virtual reality space. Following this, was Ralph Lauren who launched on the Zepeto platform , introducing a range of Digital apparel for the 3D Avatars. Another landmark event that caught the world’s attention was when BTS, who lead the fame of K - pop, launched their song “Dynamite” for the first time on a game called “Fortnite” on 25 th September, 2020, amidst the Covid - 19 pandemic on the Metaverse platform. The official music video on YouTube broke the record for being the biggest first - day debut with 101.1million views within 24 hours of its release. The song “Dynamite” being the BTS’s first - ever English language single, didn’t limit them to Asian viewership but has gained them immense popularity in the west too. [2] The study further will be based on the influential relationship of K - Pop and what it has to offer to the Fashion retail industry and the Metaverse. As consumers are being more aware of “sustainable fashion”, digital fashion could be the future with increasing awareness among the GenZ and millennials currently. As Metaverse is a virtual platform gaining popularity among niche sectors cu rrently, the survey, research and expert narrations carried out have help ed determine the influence and the factors around it. 2. LITERATURE REVIEW Fashion marketing as a concept is still broadly misunderstood. In the fast - fashion segment, it is perceived to be branding and selling through creating a demand for the creation of the designer. But in reality, the creation is influenced by the demand in the market, which is assessed by a fashion marketeer. A fashion marketeer should be well in sync with the desig ner to be able to get the right production. It’s the choice of making what can be sold over selling what can be made. [3] As of March 2022, fashion retail is a $2.5 trillion industry [4] . Fashion is a global business sector where trends are evolving and ma rketing plays a huge role to be able to support this change. In fashion, the aspects of design and marketing are always going hand - in - hand. The fashion industry runs on Planned obsolescence with trends getting exhausted and the demand for new creations is always high . [5] The whole fast - fashion segment is monetized on the aspect of trends getting exhausted and consumption rising with the same. The generation Z (Genz) who are born after 1997, spend $44 billion on digital assets such as smartphones, tablets , game consoles and digital collectibles. This makes the generation well - connected socially and highly active on the digital world. Marketing to GenZ and their parents is the future of brands transforming digitally as they represent the market tomorrow. [6 ] To understand the influence of K - pop better, the search traffic was studied across the world and according to this study, the search traffic in Korea was at its peak in the last quarter of 2020 and continued to increase in the same manner until March 202 1, surpassing the global search traffic post June 2021. The popularity of Metaverse was high in Korea, compared to all other nations as majority of the search All authors are with the Department of Marketing , SP Jain School of Global Management , Singapore, (email: swathi.gm22ns028@spjain.org , irina.pismennaya@spjain.org , tristan.chong@spjain.org ). INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12, NO. 1, JANUARY 2023 5 phrases included “Metaverse” as a huge population in Korea among the GenZ have been avid gamers a nd further Metaverse stocks and virtual currency used on the platform were found to be in Korea. This can indicate that consumers who were in their 30s or older too had been involving in the Metaverse in the Korean region. Additionally, when the Korean new s was analysed, the changes in frequency were similar to that of the search traffic studied. In the April of 2021, the big news about the metaverse was when Zepeto, a metaverse platform crossed 200 million users. By the May of 2021, fashion weeks, virtual fan signings, real estate meets had created the top news on the Metaverse. Researchers in 2010 had predicted that Metaverse would be a 3D immersive experience platform that would replace other e - commerce and web portals. Hence a good number of industries had a planned beginning on the platform as attention was given to the research. [7] The all - boy K - Pop band BTS is said to have a worldwide fan followership of ninety million The fandom of K - Pop is significant as it influences various outcomes like social behaviours, technology adoption, psychological factors and being socially connected in their communities. [8] While we study the influence of K - Pop, a lot of idolizing occurs among fans which has been seen as a way of learning and upskilling themselves. The loyal fandom and the rise of women centered bands in the industry, has mad the fans to be positively well influenced by the stars. [9] A strong reason for the Korean industry to cross boundaries and huge success is the backing from their government. The K orean entertainment has a high factor of relatability to consumers and has gained huge viewership. With the rising popularity from the music and entertainment industries, the trend started to dictate on the fashion trends across Korea and other Asian natio ns to start with. Currently in the west, K - Pop is considered a huge influencing trend as has huge fandom among millennials and GenZ . [10] The metaverse is a virtual platform where people are interacting in the form of “avatars” created and styled by them. Fashion in the metaverse platform plays a key role as users are in a 3 - dimensional immersive environment. VR devices and smart phones have caused this aggressive reach of metaverse among the Gen Z. [11] According to the McKinsey Global Fashion Index (MGFI), in 2019 - 20, the fashion retail industry was vastly affected during the Covid - 19 pandemic and witnessed a decline of 20% in revenues. This was a trend that was applicable across other industries as well . A total of 69% companies were termed to be value destroyers in 2020 and 7% of the companies left the market entirely, due to financial distress or acquisitions by competitors. It has been evident that labels who chose to innovate into the digital platfor ms at the right time during the pandemic have been able to bounce back well. Fashion labels such as Burberry, Louis Vuitton, Ralph Lauren and Gucci being a pioneer, have started with stores on the metaverse. In the March of 2022, the first ever metaverse f ashion week was held on the virtual reality platform Decentraland. This was one such landmark event in the history of fashion where over 500 digital garments were showcased and over 70 well - known brands started with their stores in the metaverse during thi s digital fashion week. The reason this gained all the attraction is because neither the stores nor the products actually exist in reality and yet mostly were sold out. This form of merchandising is a promising future of fashion and buyer habits. [4] While professional gamers were some of the first consumers of the Metaverse, fashion and entertainment industries have made their mark too in the virtual world. The study states that one in five Metaverse users has been part of virtual concerts or film festival s. The most common interests of consumers on the Metaverse included playing social games, immersive shopping and socializing. An average of $219 million has been spent on digital assets, out of which 30% is Metaverse assets like real estate spaces, virtual enhancements and collectibles like NFTs. The spike in popularity of luxury brands has been a result of virtual lifestyle and luxury events which is attended by over half the people on the platform. [12] F IG 1 : S TUDY CONDUCTED IN UNDERSTANDING THE P ARTICIPATION OF CONSUMERS IN VARIOUS IMMERSIVE DIGITAL A CTIVITIES OVER THE N EXT 5 YEARS The gamers on virtual platforms are drawn towards using fashionable gamification applications due to the financial incentives they receive like rewa rds, discounts and points. The scope for fashion labels in this segment of gamification applications is high as there are drawbacks like the usability. Availability of a user - friendly platform and looking to security and privacy concerns are the common are as of focus for fashion labels currently, addressing to the issues faced by consumers. [13] This study has huge significance as the US investment bank Morgan Stanley predicts that the digital fashion industry would reach over a $50 billion by 2030. With in novation into the virtual universe, a fashion label can benefit very strongly financially with no physical production, distribution and labour costs and also earning royalties on product resale. The issues of supply chain disruption during the Covid - 19 pan demic would not play a role here as all merchandise is on the virtual universe. From the aspect of design and creativity, a world full of possibilities are open to create as the platform offers endless opportunities. A worthy mention to this relationship i s also the factor of sustainability. With digitalization, there is a huge saving on water and labour resources, less carbon emission and most importantly, waste management. The metaverse economy is thus predicted to be worth between $8 - 13 trillion by 2030 [14] Marketing on the Metaverse platform is competing with that in the physical world. While a huge number of consumes are drawn towards the virtual platform out of curiosity, an effective engagement of consumers will have to be achieved. Platforms like Decentraland, Roblox, Fortnite are some of the pioneer and engaging platforms. INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12, NO. 1, JANUARY 2023 6 While fashion has never taken a back seat in a changing world, the luxury brand Gucci launched their metaverse edition of Gucci Garden on Roblox, which attracted 19.9 million co nsumers onto the platform within two weeks of its launch. Gucci has been the pioneer luxury brand on the Metaverse to diversify across multiple games and platforms in the Metaverse, including Zepeto and blockchain - based platform The Sandbox. Nike, one of t he largest athletic apparel companies launched “Cryptokicks” which are unique NFTs with the virtual Nike dunk sneakers, designed by creative studio RTFKT. Fast - fashion brands like Forever 21 have started to make a mark in the Metaverse by selling a beanie for $1. Louis Vuitton has offered digital skins in the game League of Legends. The experience of virtual fashion using AR is allowing consumers to preview apparels, home décor items and instantly make a purchase of the physical world. Virtual objects are f ound to be the way consumers could experience a product or be part of the brand, which otherwise wouldn’t be accessible to them. [15] NFTs are the couture of the virtual fashion world. A large number of crypto enthusiasts have shown their interest in buyi ng NFTs which are unique ownership of Digital art. Fashion labels have sought to launching NFTs to connect with gamers and crypto - enthusiasts, seeing this as a strong tool of Metaverse marketing. NFT is a unique blockchain recording bound by a smart contra ct which is being updated every time the NFT is being sold, traded or resold. The sale of an NFT allows the control and access of smart contract and practically any other utility of the same doesn’t exist. A huge benefit apart from the resale and value uni queness, is the access to the Crypto communities. [16] The Metaverse life is perceived as a second life whereas the GenZ find the online and offline lives to be the same. Metaverse has been found to strengthen various factors like connectivity, virtual currency and better social activities. As there is growth in social activities and content on the Metaverse, the need for awareness exists which can help consumers adopt, beyond the G enZ. Currently the population on the Metaverse platform is very fluid and not consistent as involves even curious consumers who are willing to have a one - time immersive experience. The sustainability can be achieved by providing continual usability and kee ping social relationships . [17] The need for digital fashion began with Gamers on the Metaverse who spent $100 billion in 2021 over virtual goods. Out of 3 billion people (over 30% of the world’s population) who are regularly playing video games, 46% of th ese gamers are women and thus began the need for more fashionable virtual goods, with digital fashion. [18] Among the many digitally native brands creating heat waves in the Digital fashion industry, RTFKT creates luxury NFTs, raised $8 million funding by a Silicon Valley venture capitalist firm in April 2021. Silicon Valley hardly invests in fashion and Andreessen Horowitz, from the venture capitalist firm could foresee the potential involved from the gaming perspective and how the industry is fast evolvin g . [19] This implies how the industry revolution occurring in the world of fashion is drawing the attention of many, including the Silicon Valley. Technology Acceptance Model (TAM): A cognitive framework to understand the adoption of a new technology can be achieved with Technology Acceptance Model. People (consumers) create conclusions and develop a bias prior to complete understanding of the technology and adapt to it when found easy to use [20] In the current study, the adoption of Digital fashion on the Metaverse platform is understood better studying the factors that are affecting the behavioural factors of consumers. The perceived ease of use (using free of effort) and perceived usefulness (using the technology enhances performance) are the factors under consideration to arrive at a theoretical conclusion. F IG 2 : T ECHNOLOGY A CCEPTANCE M ODEL Conceptual Framework: As behavioural pattern of users is being studied, the following factors are considered to research and analyse their impact on the adoption of Digital fashion on the Metaverse. F IG 3 : C ONCEPTUAL FRAMEWORK 3. RESEARCH METHODOLOGY Qualitative research is adopted for understanding the digital fashion segment and the growth of digital fashion on the Metaverse, by a narrative analysis in the form of interviews with industry experts. Quantitative research is adopted to study the popular culture of K - Pop on fashion with various parameters considered in the survey and the intersection of K - Pop, fashion and Metaverse is studied with human behaviour factors for digital fashion using Survey research. The sampling method opted for the above qu antitative research will be Convenience Sampling. The research is expected to be carried out among GenZ and millennials, who are the majority of existing and potential consumers of Digital Fashion. INTERNATIONAL JOURNAL OF DESIGN, ANALYSIS AND TOOLS FOR INTERGRATED CIRCUITS AND SYSTEMS, VOL. 12, NO. 1, JANUARY 2023 7 4. KEY FINDINGS Qualitative analysis: The influence of K - Pop is very strong and draws the attention of people to various platforms like live - streams, virtual reality events etc. This occurs more frequently in the regions of Asia, especially in China and Korea. The fandom of K - Pop is more intense across Asia who not only follow K - Pop music, but also their fashion, events and games. Diane Wallinger, fashion designer at The Fabricant, says that as the culture of gaming is strong in Asia, users are more open to explore the Metaverse and adopt Digital fashion. In the wes tern countries, fashion is considered more craftmanship oriented and importance is given to texture, feel and physical comfort. With the fast evolution of fashion brands on the Metaverse, increasing number of fashion labels are adopting Digital fashion. Wh ile technology has played a huge role in fashion over the last 5 years, virtual reality would be the next game changer for fashion. “Labels which are traditionally functioning will also have to pivot to digital fashion” says Ms.Wallinger. Digital fashion d esigns have no wastage and creation requires 97% lesser carbon - di - oxide. Brands are considering Metaverse expansion plans and soon physical fashion shows can be replaced by virtual events. As the space is interactive, the community of designers, creators a nd gamers is strong and growing, who encourage new creations. S imon Mikolajczyk, co - founder of Maison DAO, has been in the Digital fashion industry for over a decade and shared some insights. Mr.Mikolajczyk shares about the creative freedom from the angle of the designers. Designers of digital fashion experience no limitations in their designing horizons. The possibility of 3D - Designs and designs which defy the laws of gravity are an outstanding feature of Digital fashion. As in physical fashion, the desig ns need not hang down (due to gravity) and defying these rules, digital designs can be created with absolute imagination. The real - world fashion challenges are tackled in the virtual world and the advantages of digital fashion over the traditional form ar e rising. While the debate can always go on about how digital fashion will never have that edge as in physical fashion, yet the experts have to conclude that digital fashion is here to stay. Quantitative analysis: Linear regression analysis: Hypothes is 1: Social norm is positively influencing the adoption of K - Pop with Digital Fashion on the Metaverse Hypothesis 2: The attitude of consumers is positive towards the acceptance of Digital fashion on the Metaverse Hypothesis 3: Technology Averse behav iour of consumers is stopping consumers to adopt Digital f