• Journal of the Korean Society of Costume
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• v.51 no.8
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• pp.123-139
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• 2001

본고는 공간, 시간, 계급, 종교 등 하위문화 텍스트의 병행인용 즉 상호텍스트성(intertextuality)을 통해, 20세기 대중 문화의 상징 마돈나 뮤직 비디오와 공연 등의 인체, 의상, 이미지 등에 나타난 포스트모던 정체성을 연구함으로써, 현대 미디어 문화를 관통하는 주체적 여성 정체성과 미적 주관성을 이해하고자한다. 첫째, 상호공간텍스트성 복식은 스패니쉬룩. 태국룩. 게이샤룩, 테크노펑크룩, 테크노 카우걸룩 등의 동서양의 지리적 소외감을 통해 비권위적 다양한 시선을 제시함으로써, 다국적 자본주의와 함께 확장된 미적 체험을 하게 한다.; 둘째, 상호시간텍스트성 복식은 중세 엠파이어 드레스, 18세기 로코코시대의 robe'a la francaise, 미래적 제 3의 종 룩 등 동시적 몽환적 이미지를 통해 유희적 유토피아를 지향하였다.; 셋째, 상호계급텍스트성 복식은 그라피티룩, 펑크룩, 키치룩, 먼로 룩, 보깅(voguing), 에비타 룩 등 상하류층, 하위문화, 빈부, 권력의 유무를 병행인용하여, 좋은/나쁜 취향, 창녀/성녀 이분법을 해체하고 반부르조아적 저항과 물질주의를 찬양하는 탈계급적, 양면적 정체성을 구축하였다. ; 넷째, 상호종교텍스트성 복식은 상징적 가부장인 카톨릭교 텍스트를 인용하여 펑키크리스찬 룩, 에로틱 크리스찬 룩 등의 선/악, 신성성/관능성, 미추, 정숙성/비정숙성의 이분법, 비장미를 해체함으로써 예술의 자율성, 무의식이 강조된 쾌락주의적, 반권위주의적 정체성을 주장한다. 섹슈얼리티에 있어, 시선, 권력, 쾌락의 주체가 됨으로써, 미적 범주에 있어 선악, 미추, 정숙성과 비정숙성의 이분법을 해체함으로써, 유동적 자아를 구성한 마돈나 의상의 포스트모던 정체성은 여성에게 확대된 가능성을 제공하며 내부로부터 해체된 열린 복식을 지향한다.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.19-21
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• 2004

복식은 의상뿐만 아니라 헤어스타일에서 신랄에 이르기까지 인간을 장식하는 모든 영역을 포함하고 있으며 특히 토탈패션화 현상이 대두되면서 매우 중요시되고 있다. 특히 복식 중 헤어스타일은 얼굴을 강조하고 우리의 인상을 결정해 주는 중요한 부분으로 다른 복식과 더불어 별도의 영역으로 발달되면서 독특한 상징체를 이루고 있다. 또한 헤어스타일은 대중을 중심으로 빠르고 넓게 그 영향력을 확장해 감으로써 인간의 생활과 밀접한 예술이자 사회 문화적 기능의 한 형태로 자리하고 있다. (중략)

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.369-381
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• 2008

The objectives of this study are to observe the theoretical background of brand extension, to compare & analyze the cases of brand extension in Domestic and abroad based on the existing studies to present the characteristics of brand extension strategies, and to contribute to the establishment of marketing strategies of brand portfolio for the globalization of national brands. As for the methods of research, literature review and case study were combined. As a result of the case analysis, fashion business possessing a lot of brands have powerful competitiveness when they consider the brands as one unit and manage them with definition and insight to produce mutual synergy. Given that brand environment is being complicated and diversified with market segmentation, brand extension, various product groups, numbers of competitors, and complex distribution structure, the hierarchical structure of brand may have even more significance as a strategy.

• Korean Journal of Human Ecology
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• v.2 no.2
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• pp.39-48
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• 1999

본 연구의 목적은 두 종류의 다른 연구자료- 유물과 문헌자료를 이용하여 1950년대 초기에 유행하였던 미국여성복식 가운데 쉬스 드레스(sheath dress)의 디자인 특징을 고찰하는 데에 있다. 본 연구의 일차자료로는 하와이대학교(University of Hawaii)의 The Western Costume Collection에 소장된 1950년대 초기의 복식으로 추측되는 유물과 1950년부터 1955년 사이에 출판된 Vogue, Harper's Bazaar, New York Times Magazine을 문헌자료로 이용하였다. 연구결과, 1950년대 초기의 미국 여성복 디자인의 특징은 여성의 신체적 특징을 강조하며 여성스러움의 미를 극단적으로 추구하는 쉬스 드레스(sheath dress)의 ‘the straight and slender look’으로 요약될 수 있었다. 나아가 문헌분석을 통하여 본 연구의 유물자료가 50년대 초기(1950-1954)의 미국여성복식 디자인의 특징을 보여주는 대표적인 이 시기의 복식유물로 그 사용연대가 확증되었다. 본 연구는 지금까지 주로 문헌자료의 분석만으로 한정되어 왔던 한국의 전형적인 서양복식연구에서 한 걸음 나아가 과거에 실제로 입혀졌던 복식에 대한 이해를 확장하기 위한 또 하나의 연구방법으로 문헌분석과 유물분석(object study)을 병행하여 시도해 보았다는 데에 그 의의가 있다.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.155-171
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• 2007

Exaggerated expressions of contemporary fashion have exceeded historical precedents in volume. The purpose of this study is to understand the aesthetic characteristics of expanded form In contemporary fashion. To take dresses beyond their flat shapes into three-dimensional forms, it was investigated into volume of dresses by using the void and the mass. The void Is rarefied space and the mass is densified space. The void of dresses could be constructed from the boning such as panier and stiff textiles as organza lining. The mass could be constructed from padding. Fold, pleats, twist, and the layering of fabrics show features of both the void and the mass. Contemporary fashion designers relied on the void rather that the mass to make the enormous volume because of the weight of the mass. X-silhouette and the expansion of skirt and sleeve were dominant as the result of accentuating the body with a waistline. However, many of expanded dresses were so voluminous that they obscured the body's outlines. Some forms were strange and shocking. Many designers explored the void and there were a multitude of methods to construct the void: compartments of air, architectural techniques, technical textiles, fold such at origami. The aesthetic consciousness of expanded dresses could be classified into 7 categories, the giant, the dynamic, the deconstructive, the historical, the comedic, the rhythmical, and the technical character.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.546-561
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• 2013

This study investigated how consumers perceive brand image, the consistency between the images of parent brands and extended brands, the consistency of their advertising images, the differences between brand image and advertising image, and how consumers' brand attitudes change based on those differences. An online survey was administered to women in their 20s and 30s who often use cosmetics and are interested in brands. The brands considered in this research were Chanel, Dior, Armani, and Anna Sui, which have extended brands in the clothing and cosmetics areas. In terms of consumers' perception of brand image, it was found that clothing and cosmetic brands were perceived similarly. In addition, significant differences were found in consumers' preferences and purchase intentions of clothing and cosmetic brands, and those whose perceptions of brand image did not change or increased after looking at advertising images had more positive brand attitudes than the group of people who had higher perception of brand image before looking at advertising images. Therefore, in terms of brand extension, it was revealed that the image of a parent brand affected an extended brand, and that the higher was consumers' recognition of brand image through advertising, the more positive was their attitude toward the brand.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.89-103
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• 2011

The purpose of this study is to analyze the effects of dominant brand, the quality variation among brands in the extension product category and the self-construals on consumer's attitude about extension products. The experimental design consist of three-way complex factors and 226 subjects participated for the study. The results showed that when there was fashion brand extension, whether or not there was an existing dominant brand in the extension product category, the quality variation among brands in the extension product category and the types of self-construals had a significant interaction effect on their favorableness and intention to purchase the extension products. Regardless of an existing dominant brand however, the group who had an interdependent self-construal showed higher favorableness and intention to purchase the extension products when the quality variation among brands in the extension product category was lower than when it was high, whereas the group who had an independent self-construal showed no significant difference of the favorableness and intention to purchase the extension products.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.121-122
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• 2004

최근의 급변하는 다원적이고 복합적인 문화의 흐름은 새로운 양식으로의 변화를 추구해 왔으며 기존의 조형예술의 개념, 가치 등에 대한 변모와 영역의 확장이 동반되고 있다. 이는 예술세계가 끊임없는 아이디어로 인간의 무한한 창조의지를 다양한 미적 의지로 보여지는 것을 가능하게 하였다. 이러한 다양화의 시도는 예술의 영역의 확대를 낳게 되었고, 패션도 현대예술 전반에서 일어나고 있는 소재나 기법을 공유하는 다양한 조형적 표현방법이 결합되어 영역의 확대와 소재의 한계를 벗어나게 되었다. (중략)

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.63-73
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• 2015

The purpose of this study was to investigate the effect of congruency of parent brand image with self-image, perceived risk, and product knowledge on the attitude towards extended product in fashion brand extension. A survey questionnaire was used to collect data from 170 female college students and collected data were subjected to descriptive analysis and regression analysis using SPSS Window program. The results of this study showed that the congruency of parent brand image with self-image and perceived risk had a positive effect on attitude towards extended product, whereas product knowledge had a negative effect on attitude towards extended product in fashion brand extension. Also, the congruency of parent brand image with self-image had a positive effect on the attitude towards extended product in fashion brand extension with positive moderating effect of perceived risk and negative mediating effect of product knowledge.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.301-314
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• 2016

The purpose of this study was to determine the gender differences in the relationships between knowledge of, attachment with, and attitude toward a parent brand and perceived risk of, attitude toward, and purchase intension of an extended product in the case of brand extension. A total of 300 survey questionnaires were distributed to 150 male and 150 female college students, and 275 responses were used for the final analysis. The results showed that for male college students, knowledge of the parent brand had a positive relationship with brand attachment with the parent brand, which in turn had a positive relationship with brand attitude toward the parent brand. Knowledge of the parent brand had a negative relationship with perceived risk of the extended product, which again had a negative relationship with attitude toward the extended product. In addition, for male college students, knowledge of the parent brand had a positive relationship with attitude toward the extended product, which also had a positive relationship with purchase intension of the extended product. For female college students, brand attachment with the parent brand had a positive relationship with brand attitude toward the parent brand, which also had a positive relationship with attitude toward the extended product. Brand attachment with the parent brand showed a negative relationship with perceived risk of the extended product, which also had a negative relationship with attitude toward the extended product.