• Journal of Fashion Business
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• 제7권3호
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• pp.24-35
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• 2003

This study is intended to figure out marketing strategies of women clothing brands which are remarkably preferred and recognized among Chinese women in their twenties by analyzing and comparing the features of products between Chinese fashion brands and Korean brands. This study result is follow as: 1. As the result of women fashion brands in China, it became certain that the differentiation policy of each brand and the strategy of development design reflected the needs of Chinese consumers in 20s were preferred in Chinese fashion market. 2. As the result of comparing and analysing the strategy of Korean brands' clothing product entered China market, some of them reflected well Chinese women' inclination who are in their twenties. Therefore with the proper positioning and the strategy of actual place, those Korean brands are prominently preferred. However others can not be the leading brands because of supplying inharmonious basic-style product with the preference of Chinese women in 20s.

• The International Journal of Costume Culture
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• 제12권1호
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• pp.101-105
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• 2009

With the acceleration of globalization, China accounts for a larger part in the world economy. The Korea fashion brands that have entered into China are becoming more diverse and various and China has become a major market of Korea fashion brands. More than 100 Korea fashion brands rushed into Shanghai, gaining a lot of attention. Korea fashion brands have market strategies such as differentiation strategy, high price and diversification. Korea fashion brands have gained a large market share in China owing to their diversity of products and successful marketing strategy. In order to get more profit, they should make more efforts to increase their brands' awareness, getting more potential consumers.

• Journal of the Korean Society of Costume
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• 제60권8호
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• pp.118-131
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• 2010

The purpose of this study was to identify the differences in cosmetics brand selection by product type, and the differences in ambivalent cosmetics consumption attitude by ambivalent clothing consumption attitude. The subjects of the study were females aged 20 plus, living in Seoul and Gyeonggi Province between January and February 2008, and 427 questionnaires were used for analysis. For data analysis SPSS 17.0 statistical program was used, and principal component analysis, paired t-test and t-test were conducted. The results and conclusions of this study are as follows: firstly, the differences in cosmetics brand selection by product type were investigated. The results showed that domestic high-priced brands of skincare products were selected most often, that foreign high-priced brands of base products and color products were selected most frequently, that domestic low-and medium-priced brands of hair products were selected most often, and that foreign low-and medium-priced brands of body products were selected most frequently. In particular, foreign high-priced brands of color products were most favored, followed by domestic low-and medium-priced brands. The subjects selected foreign high-priced brands, which are the most expensive, and domestic low-and medium-priced brands, which are the least expensive, at the same time. They displayed ambivalent consumption patterns. Secondly, the differences in cosmetics consumption attitude by ambivalent clothing consumption attitude were examined. Groups high on ambivalent clothing consumption attitude had a higher cosmetics consumption attitude than groups low on ambivalent clothing consumption attitude.

• Journal of Fashion Business
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• 제20권1호
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• pp.127-141
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• 2016

Korea traditional dresses are making news everyday through popular media and a number of exhibitions and fashion shows that have been held as a way to activate the use of the hanbok. This study intends to examine the current status of handbook brands and analyze the aesthetic characteristics of the hanbok. This study defined the terms related with the hanbok and examined the chronological changes in the hanbok through a literature review, an examination of the aesthetic characteristics of Korean traditional clothing, and an analysis of the aesthetic characteristics by dividing currently available hanbok brands in to the traditional hanbok. According to the results of the study, hanbok brands were divided into Traditional Hanbok, Life Hanbok, and New Hanbok. The Traditional Hanbok brands represented traditional beauty, the beauty of formality, symbolic beauty, and the beauty of nature. The Life Hanbok brands represented symbolic beauty, natural beauty, the beauty of blending, and the proportional beauty. The New Hanbok brands represented natural beauty, unproportaional beauty, the beauty of line, and the beauty of moderation. Therefore the New Hanboks gave changes to the traditional clothing and the unique clothing of our nation. Its formative elements coexist according to their characteristics.

• Journal of the Korean Society of Costume
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• 제54권7호
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• pp.1-14
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• 2004

The purpose of this study is to provide specific size data for developing a standard dress form for Korean Females between the ages of 18 and 29. Differences in sizes between dress forms used in 18-24 year-old target brands and 25-29 year-old target brands and the human body were ascertained through direct anthropometric measurements. In the 18-24 year-old target brands. 83.0-83.8cm is suitable for the bust circumference of the dress form, while in the 25-29 year-old target brands, 85.0-86.0cm is suitable. The waist circumferences of most dress forms are similar except for the Japanese C form, and there is no difference between the two groups. For hip circumference in the 18-24 year-old target brands, about 90.0cm is suitable while the 25-29 year-old target brands use additional dress forms of 91.0-92.0cm. The center front length, neck tc waist length, and front interscye breadth is 1cm shorter and the back interscye breadth is 1cm longer than indicated by the 1997 National Anthropometric Survey data.

• The Research Journal of the Costume Culture
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• 제21권4호
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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 Fashion Business
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• 제13권2호
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• pp.1-16
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• 2009

The purpose of this study was to analyze the signification system between logo and brand image systematically in imported fashion luxury brands through semiotic approach. For this purpose, 29 luxury brands were selected from 3 department stores. According to the visual characters of logo, the types of logo used in the imported fashion luxury brands were classified into three types and the results of this study were following : First, the luxury brands used the brand logo in common that represent the name of founder or fashion designer to deliver the character of company's own brand and to emphasize the spirit of a craftsman. Second, the luxury brands also used the brand logo that design the brand initial in symmetry of the right and left or top and bottom to emphasize a unique spirit of the brand. Third, the luxury brands used the brand logo that represent or symbolize a specific animal or object to express the special quality of the brand in descriptive type. Forth, the luxury brands used the most frequently black color in brand logo that symbolize a perfection, immortality and solemnity, etc.

• Journal of the Korean Society of Clothing and Textiles
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• 제43권6호
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• pp.779-794
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• 2019

This study examines the effects of brand belief of a mass offline retailer on the perceived value, attitude, and purchase intention toward the products of emerging fashion designer brands in the context of marketing collaborations between emerging fashion designer brands and a mass offline retailer. We invited 198 adults aged 20 to 59 to an online survey who were asked to read a news article and respond to a questionnaire. The results of structural equation modeling show that brand belief of a mass offline retailer positively influences the perceived value of the products of emerging fashion designer brands. The perceived value also positively influences the attitude toward the products that subsequently enhances purchase intention. The findings suggest that emerging fashion designer brands should strategically select a mass offline retailer as their collaboration partner by considering consumer perceptions of the retailer brand because the brand belief of the retailer may have a halo effect on a consumer evaluation of the products of emerging fashion designer brands.

• The Research Journal of the Costume Culture
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• 제26권3호
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• pp.471-484
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• 2018

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study's data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study's results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals' physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women's social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women's physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

• The Research Journal of the Costume Culture
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• 제10권2호
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• pp.146-159
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• 2002

This study examines the textile pattern design of Italian fashion brands and their brand extensions by comparing their images. Five Italian fashion brands are chosen and the textile pattern design of their brand extensions, which were presented during the eight collection. Then their design style is compared with the design style of their main brands. The five main brands and their brand extensions are as fellows: Anna Molinari-Blumarine, Dolce & Gabbana-D&G, Girogio Armani-Emporio Armani, Gian Franco Ferre'-GFF, and Prada-MiuMiu. Their color, motive type, motive layout, motive expression, and pattern drawing technique are examined and compared. Results suggest that most brand extensions generally use color, motive type motive layout. and motive expression similar to their main brands. In particular, their pattern drawing technique is a painting style white their main brands use a graphic style. This result suggests that to create and develop new brand extensions, Italian fashion (main brand) firms in general employ color, motive type, motive layout, and motive expression technique similar to main brands, but different drawing technique to differentiate from their main brands. The results of this study suggest that textile pattern design plays an important role in developing new brand extensions and thus should be considered as a crucial part of the product.