• 산경연구논집
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• 제10권8호
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• pp.45-53
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• 2019

Purpose - The purpose of this study was to clarify the factors to make an exclusive importation contract between foreign fashion brands and local retailers for successful business in Korea. Even though imported fashion brand market shows stead increasing in terms of sales amount, the number of store related study was very rare in fact. Meanwhile, as long as this business is glowing a lot of brands are suffering from bad business performance or getting in ruins thus these problems result in foreign currency loss. The local marketers therefore, strongly expect to know the solution for this matter. Research design, data, and methodology - For the qualitative research, 10 experts who are operating foreign brands with an exclusive contract at a department store or at duty free shop now and who had at least over 10 years of related working experience were included. The factors for the exclusive importation contract with foreign brands were drawn up through the one-to-one in-depth interview method from September 3, 2017 to January 15, 2018. The expert group for the validity analysis includes 2 professors and 5 postgraduate students. Results - As a result of qualitative study on the factors for imported fashion brand's launching with the exclusive importation contract, it turned out that there were 5 factors - safety, profitability, reliability, speed and global retailing. Safety, profitability, and reliability have been mentioned in most related surveys but some details are added and speed and global retailing have been newly highlighted and many unknown legal issues that it was not easy to get form common academic research are included. Speed simply means quick lead time and global retailing means stores where located in other countries. Conclusions - The reason that qualitative research should be done before the quantitative research is due to the scant theoretical background for this matter. Because the market of an imported fashion brand is steadily increasing, determining the factors to make exclusive importation contract is very meaningful from the point of academic and business. After this study, many marketers may get basic conditions to apply for real business and I hope the following quantitative research will give more effective results. The next study also will have extended range concerning industry area, product and distribution channel.

• 만화애니메이션 연구
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• 통권47호
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• pp.381-412
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• 2017

캐릭터(Character)는 풍부한 스토리텔링과 다양한 디자인 요소를 지니고 있다. 국내캐릭터는 오프라인과 SNS를 통해 다양한 형태로 변화 발전하고 있으며 콘텐츠 산업적인 측면에서 발전하고 있다. 본 연구의 목적은 캐릭터 이용자들이 어떠한 스토리텔링 요인과 색채 요인으로 국내 캐릭터들을 이용하고 만족하는지에 대해서 요인을 발견하고 논의하는데 있다. 스토리텔링 측면에서는 모험, 판타지, 황당하고 익살스러운 스토리를 선호하는 것으로 나타났다. 색채 측면에서는 단순하고 심플한 주요색과 난색으로 구성되어 따뜻하고 귀여운 느낌의 색채 구성을 지닌 캐릭터를 선호하는 것으로 나타났다. 반면에 스토리텔링 측면에서는 단순한 소재의 유아 교육, 패션이나 완구가 주목적으로 되어 있는 단순한 스토리를 지닌 캐릭터는 비 선호하는 것으로 나타났다. 색채 측면에서는 주요색이 없이 4개 이상의 색들로 조합이 되어서 복잡한 느낌을 주는 캐릭터를 비 선호하는 것으로 나타났다. 스토리텔링 측면에서는 모험, 판타지 구조를 지닌 스토리 전개를 통해 OSMU의 콘텐츠로 변화 발전시킬 필요가 있다. 색채 측면에서는 이용자들이 선호하는 단순하고 심플한 난색으로 구성할 필요가 있으며 조립 로봇완구 캐릭터도 단순한 색상 구성을 통해 캐릭터의 이용 만족도를 높일 필요가 있다. 본 연구결과 스토리텔링과 색채 측면에서 이용자들이 만족하는 요인을 도출하였으며 이러한 결과들이 이론적 측면, 스토리텔링 측면, 캐릭터 디자인, 산업적인 측면의 발전에 도움이 될 것이다. 위와 같은 논문의 의의에도 불구하고 구체적인 캐릭터 대상의 스토리텔링의 분석틀과 색채분석틀을 통한 연구, 색채분석에 대한 정확한 데이터분석 제시, 캐릭터 하나에 대한 단순 비교 분석을 연구의 한계점으로 지니고 있다.

• 마케팅과학연구
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• 제16권3호
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• pp.39-60
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• 2006

본 연구는 점포 내 배경음악과 광고사진이 소비자의 정서 및 행동에 미치는 영향에 관한 실험적 연구로서 비디오 시뮬레이션을 통한 실험적 방법을 이용하였다. 매장 내 배경음악의 템포 효과와 광고사진 분위기의 효과를 검증하기 위하여 국내 중 저가 영 캐주얼 의류 브랜드 매장 한 곳을 선택하여 비디오 촬영한 후, 2 (빠른 템포 vs. 느린 템포) ${\times}$2 (섹시한 사진 분위기 밝고 경쾌한 사진 분위기) 요인 설계를 이용하여 4개 의 자극물을 조작하였다. 또한 음악 및 사진 자극이 제공되지 않은 자극물을 포함, 통제 집단을 구성하였다. 총 289개의 설문의 수집되었으며, 연구 결과는 다음과 같다. 첫째, 통제집단과 각 4개의 실험 집단과의 비교 분석 결과, 점포 내 배경음악과 광고사진이 없는 통제집단은 정서적, 행동적 반응 모두에서 가장 낮은 점수를 보였다. 따라서 배경음악과 광고사진의 유무는 소비자의 정서적, 행동적 반응에 영향을 미친다고 하겠다. 둘째, 점포 내 배경음악의 템포 및 광고사진 분위기와 소비자의 점포 내 긍정적 정서상태와의 관계를 분석한 결과, 배경음악의 템포에 의한 차이는 유의하지 않았으나, 광고사진의 분위기 차이에 따른 점포 내 소비자의 긍정적인 정서상태의 차이는 유의하였다 셋째, 소비자의 점포내 긍정적인 정서상태는 소비자의 긍정적 접근행동에 유의한 영향을 미치는 것으로 나타났다. 상품 자체의 품질이나 다양성, 상품의 가격과 같은 직접적인 상품 요인 외에 배경음악과 광고사진 같은 점포 내의 분위기 요소들이 소비자들에게 즉각적이고 감정적인 반응을 불러일으켜 상품 자체 요인으로는 설명되지 않는 소비자들의 점포 내 구매행동에 영향을 미치는 중요 변수임을 발견하였다.

• 인터넷정보학회논문지
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• 제18권4호
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• pp.43-50
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• 2017

내장형 시스템은 터치, GPS, 모션, 가속도 센서 등 다양한 종류의 센서를 탑재하고 있으며, 무선 통신을 수행하여 주변 디바이스와 통신을 할 수 있다. 내장형 시스템을 탑재하고 있는 아두이노는 개발 및 응용이 쉬운 환경을 제공해주기 때문에 개발자, 엔지니어, 디자이너는 물론 예술가 학생까지 큰 관심을 가지고 있다. 그리고 그들은 로봇, 가전, 패션, 문화 등 다방면으로 아두이노를 활용한다. 본 논문에서는 아두이노 내장형 시스템을 활용하여 기존 터치 방식의 1차원적인 게임에서 벗어나 사람의 인체 동작을 인식하는 내장형 시스템을 활용한 게임을 설계하고 구현한다. 개발된 내장형 시스템 게임은 사람의 동작을 자이로센서 기반으로 측정하며, 상대방의 공격 성공 여부는 터치 센서를 활용하여 파악한다. 그리고 게임하는 유저의 체력은 안드로이드 폰 기반 데이터베이스를 통해서 실시간으로 업데이트 한다. 본 논문에서 개발하는 내장형 시스템 기반 게임은 안드로이드 폰 기반의 GUI 를 제공함으로써 관전모드와 대전모드 선택이 가능하며, 최신 블루투스 기반의 통신을 통해 데이터를 주고 받기 때문에 배터리 소비가 적으며 확장이 쉽게 가능하다는 장점을 가진다.

• 벤처혁신연구
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• 제3권1호
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• pp.101-115
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• 2020

4차 산업혁명시대를 살고 있는 고객들은 구매 깔때기 안에 있는 것이 아니라 밖으로 나오기 시작했다. 풍부한 정보로 무장한 현명한 고객의 등장과 맞물려 제품 선택의 폭과 디지털 채널의 폭발적인 증가로 인해 정보를 탐색하고 구매하는 방식이 혁신적으로 변화되고 있는 것이다. 디지털 시대의 고객여정은 전통적인 깔때기 모형이 제시하는것보다 훨씬 복잡하게 되었다. 그래서 직선형이 아닌 다양한 상호작용을 하는 비선형적인 정교한 접근이 요구되어지고 있다. 기존의 많은 연구와 달리 본 연구는 패션, 자동차, 화장품, 온라인 쇼핑몰의 4개 상품군 이용고객 1,200을 대상으로 진행된 것으로 상품군에 상관없이 일반적으로 적용할 수 있는 디지털고객경험 속성을 도출하고 검정하였다. 디지털경험이 고객만족에 영향을 미치며, 최종적으로 구매에 영향을 미치는 일련의 과정 속에서 디지털 자기효능감이 구매에 어떠한 역할을 하는지를 규명하였다. 이론적 시사점으로는 디지털 자기 효능감을 조절된 매개변수로 도입하여 검정한 결과 고객만족도와 고객 충성도 간 디지털 자기효능감은 조절된 매개역할을 하는 것으로 검정 되었다. 실무적으로는 디지털 자기효능감이 높은 고객에게 디지털 마케팅을 적극적으로 활용할 필요가 있고다, 그러나 디지털 자기 효능감이 낮은 고객에게는 디지털 마케팅 피로도를 조심해야 할 필요가 있다는 시사점을 도출하였다.

• 복식
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• 제36권
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• 복식
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• 제38권
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• pp.193-211
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• 1998

Without a solid marketing system in placed, the fashion industry cannot flourish on out-standing design or technology alone. Even though the significance of collecting and analyzing information, merchandising, and retail distribution is recognized, these functions are not firmly rooted or prevalent in our industry. In contrast, Italy which possesses similar demographic traits such as the lack of natural resources and other physical factors has succeed-ed in globalizing its fashion market by responding swiftly and exercising flexiblity to its constantly changing consumer demand. This in turn has earned Italy the competitive edge in the global fashion arena. Italy's unique management skills and operation know-how, along with successful market strategies come into play in bringing competitiveness to Italy's fashion market. Firstly, smaller companies with ability to adopt swiftly to the ever changing market. Secondly, fashion friendly social environment. Thirdly, niche marketing through highly specialized system and differentiation. Fourthly, timeless innovation through intense corporate competition. Lastly, establishment of foundations to support the industry through diverse networking. The alone building blocks have formed a basis for erecting an unparalleled market with a reputation for excellence in design and quality in the global fashion world. This study has examined how Italy's fashion industry has evolved from an underdeveloped textile business into a cutting edge fashion in-dustry. Italy's unique business processes and practices were studied to come up with a collection and merchandising ideas in a niche market. By selecting this venue we are able to continuously grow and develop in a market with diverse consumer needs. To analyze the Italian fashion market, data from 3 institutions were utilized, namely, CIT-ER which has provided consumer trends and sales analysis, SITA,a data service provided statistics from the textile and apparel businesses, and NBI has also furnished valuable data. Italian consumer preference, buying behavior, consumer profile, retail channels and other related data from the above institutions has formed a backbone for market segmentation and target markets, and as a result, we were able to zero in on the type of consumer, produce, pricing and retail channels for our womenswear. Going forward the direction is to elevate product image and pretige, and create syn-ergy between related industries, and at the same note, in order to develop internationally recognized brands such as Max Mara and Benetton. Certain elements such as the specialization of the fashion industry, alon-g with fashion-related data base and systems support, and most importantly experts with acute fashion sense and capacity to analyze pertinent data are in need. I firmly believe that we can achieve Italy's level in the fashion market with support from the government and unrelenting effort within the industry itself, and hope that this report can prove to be useful.

• 복식
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• 제56권3호
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• 복식
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• 제57권2호
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• pp.115-131
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• 2007

By the turn of the century, our society has been gradually more interested in environmental problems than any other time. Ecological change spurred by industrial pollution is occurring beyond the borders of nations, and has emerged as a global issue. Such change is resulting in exhaustion of natural resources and energy, and serious climatic change. In this study, main focus regarding the process of the fashion product design system was placed on the sustainable fashion design of organic cotton as a positive and alternative suggestion. It is expected that the results of this study contribute to the fashion design planning not only for future generation but also for the present time. This study researched on brands that produced their fashion products using organic cotton. The following cases proved to possess sustainability in their product system. The results of this study can be summarized as follows: Firstly, sustainable design in organic cotton products has been a progressive ere-design in 2000s. It is mainly focus concerned with recycling and re-use of materials to protect environment. It is not chemical dependant and takes a particular care in eliminating waste water and energy in the dyeing process. It is an environmentally sustainable design better than all the other design processes. Secondly, it is a design that cares for the common good of society and the global system of fair trading. The fair trading of organic cotton products induced a change in the structure of production system, while defending human rights. It also gave benefits by promoting development in local society and progress in traditional skills. Not to mention that it contributed to building up the concept of transparency in the global economic system. Lastly, the brands emphasize their social responsibility and management ethics to observe environmental policy which is established to protect our nature and people. Their public information reminds customers of the importance of protecting the environment from diverse pollution. Moreover, they hold social events to promote public awareness for environmental Issues. This study dealt only with the organic cotton, a small subset of the subject of sustainable design. It can be extended and applied to various other sustainable fashion design as a solution for global environmental issues.

• 복식
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• 제25권
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.