• Journal of Fashion Business
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• v.26 no.5
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• pp.49-61
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• 2022

Advancements in technology and the proliferation of digital services have highlighted the importance of luxury brands in service environments. Based on the social exchange theory, this study investigated the interaction between customers and luxury brands in a traditional offline service encounter and a digital online service encounter. The interaction area was classified into three parts: human-human, human-digital, and human-physical environments. We qualitatively investigated the practitioners' working experiences with luxury brands. The study determined that both online and offline service encounter interactions between luxury brands and customers have become diverse. First, forming a special relationship with customers and frontline employees in traditional service encounters is important. Second, luxury brands should focus on the interaction among customers. Third, various digital tools should be considered to provide information about the brand to customers. Fourth, the exclusive benefits of offline service encounters should be maximized to stimulate positive experiences. The findings provide valuable insight to scholars and marketers on the new interaction phase between customers and luxury brands in the digital age.

• Fashion & Textile Research Journal
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• v.24 no.4
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• pp.357-371
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• 2022

With the expansion of the vegan fashion industry and increasing consumer interest in vegan goods, the first inaugural Vegan Fashion Week was held in LA in 2019. However, there are no studies examining the sustainability of vegan fashion brands; this study underlines the necessity to close this research gap. This study aimed to ascertain how these issues are handled by vegan fashion brands. Using the "sustainable criterion of fashion brands," we investigated the companies that participated in Vegan Fashion Week. This study analyzed the featured brands, conducted case studies, and examined each brand's sustainability strategies and procedures. Press releases, news articles, official websites, and web magazines served as raw data for this study. Analyses of individual networks were performed and brands' approaches to veganism and sustainability were evaluated; eco-friendly material, fair trade, local production, and vegan inspiration were among these techniques. Every brand had put at least one of these requirements into practice for their business, with vegan inspiration being the most popular approach. Additionally, it was discovered that vegan fashion brands deliberately employed vegan messaging that aligns with their corporate values. After its initial launch, VFW continues to advance the discourse on vegan fashion both within the industry and with the general public. The study's implications include the analysis of vegan fashion brands' ethical manufacturing, environmental practices, and overall sustainability.

• Journal of Fashion Business
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• v.26 no.1
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• pp.140-157
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• 2022

This study examined the types of retro marketing of fashion brands and explored the difference in retro characteristics and nostalgic emotions. Additionally, the effects of retro characteristics on nostalgic emotions and the influence of nostalgic emotions on brand attitude were examined. A total of 33 fashion brands, including eight designer brands, 10 sports and outdoor brands, 11 casual brands, and four SPA brands were investigated to categorize the retro marketing types. An online survey was also conducted of respondents in their 20s to 50s, and a total of 363 responses were analyzed using SPSS 26.0. The results were as follows. First, the retro marketing of fashion brands was categorized into four types including brand heritage marketing, retro design marketing, retro emotional experience-oriented marketing, and brand collaboration marketing. The four retro marketing types showed differences in retro characteristics and nostalgic emotions. Second, the retro characteristics consisted of four dimensions including familiarity, attractiveness, uniqueness, and historicity. Nostalgic emotions consisted of four dimensions including sadness, longingness, comfort, and pleasure. Third, the results showed that familiarity and attractiveness had significant effects on comfort and pleasure, while uniqueness and historicity had significant effects on longingness. Fourth, the results showed that longingness, comfort, and pleasure had positive effects on brand attitude, whereas sadness had a negative effect on brand attitude.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.753-764
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• 2007

Apparel goods can be customer-oriented in the extreme and the apparel industry is one of the most customer-centered industries that should maximize customers' satisfaction. Recently, mass customization, a customer-centered system is widely discussed in the apparel industry to provide consumers with new, differentiating, distinctive, yet personalized products. The purpose of this study is to provide useful insights for apparel brands' mass customization(hereafter, MC) implementation by comparing the apparel brands' current status with consumers' expectation. One hundred apparel brands' practitioners and 116 consumers were surveyed in this research. First, we found that, on the basis of the five stages of MC presented by Pine(1993), apparel brands' MC stages were identified. Then, customers' expectation levels were examined according to the five stages. When compared the gap between the customers' expectation level and the apparel brands' implementation, consumers' expectation of MC was significantly higher than the implementation level by apparel brands for the stage 2(customized products creation), the stage 5(modular production). Second, by conducting a factor analysis with the scales measuring the MC activities of the five stages, apparel brands' current MC strategies could be classified as 'mass customized strategy', 'quick response strategy', 'MOT(moment of truth) customized strategy', and 'individualized service strategy.' Apparel brands showed significant differences in mass customized strategy, quickresponse strategy, and MOT customized strategy according to their product characteristics. Finally, consumers' expectation level of MC strategies was significantly different by their characteristics such as shopping orientation.

• Journal of Fashion Business
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• v.15 no.1
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• pp.92-102
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• 2011

The purpose of this research is to study the types of name spectrum and their characteristics of domestic men's wear brands focusing on formal and casual wear and also examine the differences based on the type of brands' product and brand style. Total 184 of men's wear brands, which were consisted of 66 formal wear brands and 84 casual wear brands, were selected from '2009 Korea Fashion Yearbook'. For data analysis, quantitatively evaluated the frequency and qualitatively evaluated the image of brand product and the meaning of brand name. The result as follows; 1. The domestic fashion brands for men's wear appeared to have four types of name spectrum. The descriptive name was the most frequently showed, and followed by arbitrary, suggestive, and coined name. For formal wear brands, four types of name spectrum were appeared in the order of descriptive, suggestive, coined, and arbitrary name. In casual wear brands, three types of name spectrum were appeared in the order of descriptive, arbitrary, and suggestive name. 2. The characteristics of men's brand name according to their name spectrum was as follows.; In the descriptive brand names, person's name was used the most and some ascribed the characteristics, feature or geographic location of the product. The suggestive brand names contained images and symbols of the product and also implied the relevant benefit information in a particular product context. In the arbitrary brand name, they imply the various meanings according to the product and are made up of either coined or natural. For the coined name, some bear the ideology or symbolized the characteristics of product itself. 3. The descriptive name spectrum showed the most in domestic menswear brands, regardless of the brand type. Except this, there were differences in the type and the frequency of name spectrum depending on the brand type.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.6
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• pp.1122-1130
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• 2001

Recently the importance of distribution channel design has been focused on due to a turbulent environment. The channel design strategy involves the choice of an optimal channel arrangement including channel width, channel depth, the types of intermediaries to be used, and the specific responsibilities of each channel member. The purpose of this paper is to investigate changes of distribution intensity in the infant & children's wear brand from 1997 to 1999, when Korea has faced changes before and after IMF intervention that influenced the Korean economy greatly. Thus, this study provides channel managers with some guidelines for establishing and adjusting the infant & children's wear channel strategies. The data is collected by the Korean Fashion Brand Annual published by Apparel News Co., from 1997 to 1999. infant & children's wear brands are selected and analyzed with Pearson correlation. Statistic analysis has shown different results in the type of brands in terms of distribution intensity. The type of brands between infant's wear and those for children differ in price and launching period. In the case of infant's wear brands, the launching period and total sales should be considered in designing channel distributions, while for children's brands total sales are significant. As the price increases, children's wear brands are significantly linked to their distribution intensity only in certain times at the starting point of IMF intervention. IMF intervention do not seem to influence the distribution intensity of infant's wear brands much as it did children's wear brands. It seems that the infant's wear industry is more stable than the children s wear industry. As a result, the marketer who plans distribution intensity for the infant's and children's wear brands should consider total sales, the launching period and the price according to the type of brands he deals with.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.87-102
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• 2021

The purpose of this study is to consider effective digital marketing strategies through analysis of luxury fashion brands. This study conducted both quantitative analysis and case studies of the brands Louis Vuitton, Gucci, Burberry, and Chanel. To measure the brand image of the luxury fashion brands, the survey was distributed to Millennials, and total of 277 responses were used for the final analysis by using SPSS 25.0 statistical program. Other than survey, this paper analyzed digital marketing strategies of luxury fashion brands through brand-related papers, website and social media of each brand, Samsung Designnet's database, and news posted on search engines. The results of this study are as follows: First, according to the result of examining brand image of luxury fashion brands, there was no significant difference between brands, except Gucci. Second, this study analyzed each luxury fashion brand to understand the characteristics of digital marketing, and common characteristics were identified. Third, by analyzing the brand image and digital marketing strategies of luxury fashion brands, it was confirmed that Gucci's brand image and digital marketing strategies were consistent, while there was a difference between Burberry's brand image and digital marketing strategy. Therefore, this article proposes the following digital marketing strategies that are suitable for luxury fashion brands. First, is the connection of on/offline channels. Second, is the use of AI technology. Third, is a blockchain-based platform.

• Journal of Fashion Business
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• v.27 no.1
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• pp.77-109
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• 2023

This study attempted to understand current status of overseas virtual fashion brands and analyze attributes of common digital fashion brands. Based on brand analysis criteria of previous studies, digital fashion brands were analyzed for brand concept, price range, characteristic elements, and attributes. Digital fashion design elements of items, colors, materials, patterns, and effects were analyzed by collecting images of brands' digital fashion design products. Digital fashion brands could be divided into experimental and creative digital fashion brands and digital fashion brands aiming for popular brands. This study introduces a creative fashion collection that experiments sustainability and future value. It shares a new way of self-expression and a playful culture centered on the younger generation. In terms of fashion design elements, fashion items were similar to the existing fashion category, but included other accessories that reflected the lifestyle of Generation Z. Silhouette expressed a minimalistic futuristic image centered on straight silhouettes. Color showed a bold and modern color image through black and color contrast. Unique patterns reflecting the concept of the brand appeared, centering on abstract and geometric patterns. Regarding materials and effects, new elements differentiated from existing fashion design area, showing meaningful characteristics. Digital materials are developed and proposed for sustainability. Materials (such as metal, glass, plastic) and effects (such as weightlessness, flames) expand impossible senses in reality and enable new fashion experiences. This is a case study of digital fashion brands. It is meaningful in that it identifies characteristics and discusses their values and meanings.

• The Research Journal of the Costume Culture
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• v.31 no.3
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• pp.296-309
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• 2023

This study gathered basic information on the development of Jiu-Jitsu uniforms suitable for players in Korea. Detailed data were collected between December 20^th and December 30^th, 2022 on 21 selected brands sold in online shopping malls. For each, information was recorded on the production country, product type, price, colors, material, and sizing system. A total of 612 datasets were analyzed using frequency analysis, cross-tabulation, and Chi-square tests. Jiu-Jitsu uniforms were classified as either standard or limited edition. Limited edition uniforms were more expensive than regular uniforms. International brands had a higher price range than domestic brands. The most commonly used colors for Jiu-Jitsu uniforms were the regulation colors associated with the sport: white, black, and blue. Domestic brands were more likely to use non-regulation colors than international brands. The material used for the top half of the uniform was predominantly pearl weave, while the bottom half was usually ripstop. International brands used a more diverse range of materials than domestic brands. The Jiu-Jitsu uniform sizing system incorporated a range of sizes between A00 and A6. While sizing designations differed according to the established sizing systems of different countries, the sizes remained the same, as did the range of sizes available. Where size guides were provided, height and weight were used to help the customer determine the appropriate size. The dimensions of each size varied between brands. Overall, we found that international brands offer a more diverse range of Jiu-Jitsu uniform designs than domestic brands.

• Journal of Fashion Business
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• v.28 no.2
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• pp.76-91
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• 2024

This study analyzed the colors used in the logos of infants' and children's clothing brands, comparing them based on brand type and the pursued image. A total of 34 brands with the highest recent sales rates were selected. Among these, 17 were large-sized enterprise brands found in department stores, and the other 17 were in-house production enterprise brands. All colors used in the logos of the selected brands were extracted from the brand logo images. In addition, the study classified the pursued images of the selected brands using emotional adjectives in order to assess variations in different color attributes of the logos according to the brand type and pursued image. The study found that in-house production enterprise brands used lighter and more varied colors compared to department store brands. For both brand types, reddish-to-yellowish hues were most commonly used. Brands projecting a 'cute' and 'gorgeous' image exhibited a greater array of colors in their logos, while brands with a 'neat', 'modern', and 'luxurious' image used less saturated colors. In terms of logo type, symbol logos used the most colors with a moderate level of lightness, while typographic logos used the fewest colors with a low level of lightness.