• Title, Summary, Keyword: Louis Vuitton

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Analysis of fashion narrative by communication platforms - Louis Vuitton as a case study - (커뮤니케이션 플랫폼에 따른 패션 내러티브 분석 - 루이비통을 중심으로 -)

  • Park, So Hyoung;Yim, Eunhyuk
    • The Research Journal of the Costume Culture
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    • v.26 no.6
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    • pp.994-1014
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    • 2018
  • The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.

A Study on the Driving Force of Louis Vuitton's Design Innovation (루이비통 디자인 혁신의 원동력에 관한 연구)

  • Kim, Ji-Young
    • The Research Journal of the Costume Culture
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    • v.17 no.4
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    • pp.691-708
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    • 2009
  • The purpose of this study was to find the methodology of design plan that could raise the brand power by looking around the driving force of the design innovation through the case study of Louis Vuitton which has been evaluated to be successful in brand revolution by designer Marc Jacobs. Research methods were theoretical studies looking for various analysis and valuations about Louis Vuitton's design innovation and analysis about articles in International Herald Tribune and New York Times. Driving force of Louis Vuitton's design innovation could be summarized as designer's creativity and full supports for designers, establishment of BI by strategic cooperation between design and marketing parts, active design plans by collaboration with modern artists, existence of Logo as a symbol of brand, business mind pursuing adventures and dreams, and directors' artistic sensitivity and supports for culture and art.

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The Characteristics and Meaning of Art Collaboration in the Luxury Louis Vuitton Brand -Focusing on Bags Since 2000- (럭셔리 브랜드 루이 비통(Louis Vuitton)의 아트 콜라보레이션 특징과 의미 -2000년 이후 가방을 중심으로-)

  • Kim, Hyunjeong;Park, Hyewon
    • Journal of Fashion Business
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    • v.24 no.2
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    • pp.100-118
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    • 2020
  • The purpose of this study was to identify the characteristics and meaning of collaboration with artists who have been with Louis Vuitton, focusing on bags, which are representative products of the luxury Louis Vuitton brand, -The research method was literature research and case studies. The theoretical study was based on previous studies and literature examine the concept and type in collaboration and to examine the trend in fashion and art collaboration. The case study was conducted after 2000 by collecting collaborative works between Louis Vuitton and artists based on their homepage, fashion information, and collection sites. Five artists and six artists(Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self and Jonas Wood), including Stephen Sprouse, Richard Prince, Takashi Murakami, Kusama Yayoi, and Jeff Koons, were analyzed for the art collaboration cases and contents that were conducted mainly on bags. This study found the following collaboration characteristics: first, classic image innovation: fun and lightness; second, deviating from the boundaries of fashion bags: the art of life, and third, building high-end luxury brand differentiation: scarcity and the introduction of authorism. It is expected that the basic data will be presented in the study of art collaboration design of fashion bags as well as academic data on the differentiation of luxury brands and the artisticization of products in the future.

Expression Types and Aesthetic Characteristics of Animal Sculptures Art-pieces by Billie Achilleos in Art Collaboration with Louis Vuitton (Louis Vuitton과 Billie Achilleos의 아트 콜라보레이션에 나타난 동물조각 예술작품의 표현 유형과 미적 특성)

  • Kim, Jang Hyeon;Jun, Yuh-Sun;Kim, Young Sam
    • Fashion & Textile Research Journal
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    • v.16 no.2
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    • pp.196-207
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    • 2014
  • This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.

A Study on Characteristics of Peter Marino's Fashion Brand Store Designs - Focused on Chanel and Louis Vuitton- (피터 마리노의 패션 브랜드스토어 공간 디자인 표현특성에 관한 연구 - 샤넬과 루이뷔통 브랜드스토어 중심으로 -)

  • Shim, Eun-Ju
    • Korean Institute of Interior Design Journal
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    • v.16 no.2
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    • pp.209-216
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    • 2007
  • Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

Architects' Interpretation and Expression of the Brand Image in Contemporary Commercial Architecture - Focused on Prada and Louis Vuitton - (현대 상업건축에서 브랜드 이미지에 대한 건축가의 해석과 표현 - 프라다와 루이뷔통을 중심으로 -)

  • Choi Wangdon;Kim Ju-Yeon
    • Korean Institute of Interior Design Journal
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    • v.15 no.1
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    • pp.98-105
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    • 2006
  • This study tries to find how architects interpret and express fashion brand images. First, it examines the concept of brand images and its architectural expression of them in contemporary commercial architecture. Second, it investigates the brand strategies and architectural expression strategies of world-famous fashion brand companies such as Prada and Louis Vuitton. Third, it finds out architects' expression of the brand strategies focusing on Rem Koolhaas, Herzog & do Meuron, Jun Aoki, Barthelemy-Grino, Kumiko Inui. In conclusion, architects have their own expression tools for fashion brand images but the extent of expression vanes according to each brand strategy.

A Study on the Design Changes and the Acceptance of Identity on Luxury Brand Bags -Focusing on the Fashion Collections of Louis Vuitton, Gucci, and Chanel-

  • Choi, Jin-Hee;Lee, Mi-Suk
    • Journal of Fashion Business
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    • v.20 no.6
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    • pp.111-134
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    • 2016
  • A luxury brand bag is a medium to symbolize brand identity and plays a role in enhancing brand value. A typical example is a designer signature bag such as Hermes Kelly Bag, Birkin Bag, and Lady Dior Bag. The purpose of this study is to analyze the design changes and acceptance of identity of luxury brand bags and examine the design characteristics that succeed to the value of a luxury brand bag. The subjects of the study focused on Louis Vuitton, Gucci, and Chanel bags. Photos were collected from www.vogue.co. uk. based on the fashion collections from S/S 2007 to S/S 2016. The study methodology was to analyze the kinds, shapes, colors, materials, and the ornament of subject bags based on previous studies. The results of the study were summarized as follows. For the identity and design changes of each brand, Chanel has tried to combine functionality pursued in the past with constantly changing femininity by making bags in fantastic moods using various materials and free shapes. Gucci has constantly used Ornament elements holding the brand identity of classic bags and trend colors to keep tradition. Louis Vuitton holds fast to its functional shape to protect brand identity through design philosophy that started with a travel luggage and attempts to express modern emotion through Ornament changes. This study confirmed that luxury brands have accepted their unique design characteristics holding brand identity to improve their brand value and attempted to change constructive elements in many different ways for modern reinterpretation.

A Study on the Efect of Brand Personality of Fashion Flagship Store on Brand Loyalty in Interior Design - Focus on the Fashion Flagship Store of Louis Vuitton - (패션 플래그쉽 스토어 인테리어디자인의 브랜드 개성과 브랜드 충성도의 영향관계에 관한 연구 - 루이뷔통의 플래그쉽 스토어를 중심으로 -)

  • Cho, Yeon-Joo;Lee, Ju-Hyeong;Park, Chan-Il
    • Korean Institute of Interior Design Journal
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    • v.20 no.6
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    • pp.62-70
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    • 2011
  • Fashion flagship store is to maximize brand's image, not for sales. As a value for consumption is changing into expression of individual styles and egos through brands' images based on their personalities rather than products, today, people are laying stress on expression of brands' personalities with spatial design of fashion flagship store to create differentiated brand images. This study was designed to examine brand personalities expressed in fashion flagship store's spatial design, and spatial components and ways of expression to influence them, and analyze how brand personality has an impact on brand loyalty. According to the results of this study, brand personality in fashion flagship store's space design of Louis Vuitton has three characteristics such as sincerity, vitality and tenacity, and display, pattern, furniture, color and wall have high influences on expression of its brand personality. Also, the higher brand personality got, the higher brand loyalty went up. These results imply that fashion flagship store's space design expressing differentiated brand personalities influences customers' brand loyalty to constantly use the brands, and thus is highly important for brand marketing of this day.

A Study on the Space Graphic applied to the Brand Identity(BI) In Commercial Space - Focused on Louis Vuitton and Chanel - (상업공간의 브랜드 아이덴티티(BI)를 응용한 공간 그래픽에 관한 연구 - 루이비통과 샤넬 브랜드를 중심으로 -)

  • Jung, Hee-Eun;Kim, Young-Hoon;Ju, Hye-Ra
    • Korean Institute of Interior Design Journal
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    • v.17 no.6
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    • pp.128-136
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    • 2008
  • It wouldn't be exaggerating to say that we're living in a "Brand age" these days. Brand is easily spotted anywhere around our surroundings, influencing us in a material and a moral way. BI(Brand Identity) which brings increase on sales by constructing and improving the brand image, are infect visually compressed Identity designs that will give the interior space that have applied it, superiority in building a unified image. Then, graphic plays an important role in expressing Identity designs visually. These days, interior space graphic is an emotional field that can materialize images, which became an important expressing medium that offers various images and creativity and show interior space's brand identity. In this manner, space graphic that applies identity designs, clearly states brand's intentions on space communication and users by designing company images or brand's emotional factors visually and dimensionally. Also, it escapes plane level, and gives space, dimensional and kinetic elements, which can give differentiation with other brand's space. These kinds of flexibility let space graphic be used efficiently in extending space identity.

Analysis on Magazine Advertisements of Fashion Brands which Replaced Creative Directors - Focused on 'Saint Laurent', 'Louis Vuitton', and 'Gucci' - (크리에이티브 디렉터가 교체된 패션브랜드의 잡지 광고 분석 - '생 로랑', '루이 비통', '구찌'를 중심으로 -)

  • Her, Yu-Sun;Chun, Jae-Hoon
    • Fashion & Textile Research Journal
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    • v.19 no.5
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    • pp.547-558
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    • 2017
  • Recently, the replacement of creative directors of fashion brands has gained attention from both researchers and practitioners. This study selected three representative fashion brands whose creative directors were replaced in the last 10 years, and analyzed the changed characteristics of their magazine advertisements. Literature studies and case studies were conducted as research methods. The subjects of the case studies were three fashion brands - 'Saint Laurent', 'Louis Vuitton', and 'Gucci'. Magazine advertisements were divided into two aspects: fashion photo elements and layout. The former can be classified into three components: the presence of a specific situation, the background of photos and objects, and the atmosphere of models. The latter can be classified into two components: the logo style and pictorial color. In terms of fashion photo elements, the presence of a specific situation in magazine advertisements appeared differently, depending on whether creative directors focus on the brand's own identity or on their own concept of each season. Also, the background of photos and objects, and the atmosphere of models changed depending on the situation. In terms of layout, there is no dramatic change in their logo styles, for they want to preserve their long tradition. And the more a creative director pursues younger sensibility, the more black and white color effect are added towards magazine advertisements. This study has its significance in that it confirms the replacement of creative directors has considerable influence on fashion brands' images and their magazine advertisements.