• Asia Marketing Journal
• /
• v.12 no.4
• /
• pp.27-54
• /
• 2011

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as 'aesthetic and sensuous merit goods', 'actual and individual merit goods', and 'social public property'. As 'aesthetic and sensuous merit goods', culture-art products are considered as the products of an artist's creative activities; as 'social public property', culture-art products have a public value in terms of ownership; and as 'actual and individual merit goods', culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into 'aesthetic character-oriented', 'social relationships-oriented', and 'individual benefits-oriented' depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population's quality of life. However, since this research could only conceptually grasp consumer perception of culture-art products and reveal the dimension of classification due to its own limitations arising from characteristic investigation, quantitative data on the benefits of culture-art product consumers should be measured in future studies through a quantitative investigation, while using the value cognition of culture-art products and the individual characteristics of consumers as variables based on this research.

• Korean Association of Arts Management
• /
• no.60
• /
• pp.155-191
• /
• 2021

The purpose of this study is to analyze the effect of art and culture experience according to art and culture perception on art and culture consumption. Accordingly, the perception expressed through the experiences of consumers was defined as the delivery of art and culture marketing strategies, and the behavior of consumers enjoying art and culture was measured. The research data were analyzed through an online survey. As a result of the analysis, sense, relation had a significant effect on the hedonistic factor, and the act, sense, emotion and relation had significant effects on the other's consciousness, and the behavioral and emotional factors had a significant effect on the intentional factors. The implication from the experience of relationships with others was found to have a negative(-) effect on all factors, which means to be the result of consumers' anxiety in enjoying art due to the pandemic. It is necessary to develop an online business model for consumers who naturally avoid it, and to narrow the gap between online and offline art and culture. Second, it is thought that sponsorship from companies is necessary so that artists who provide art and culture can produce high-quality contents. In the future, if it was studied the relationship between not only consumers who enjoy art and culture, but also suppliers and artists who provide art and culture, it will be able to understand the culture in-depth.

• Review of Culture and Economy
• /
• v.19 no.2
• /
• pp.3-28
• /
• 2016

The present study attempted the segmentation of the art gallery visitors on the basis of leisure lifestyles. For this purpose, leisure lifestyle surveys were administered at Korea's three representative art galleries, the National Museum of Modern and Contemporary Art, Seoul Museum of Art, and Seoul Art Center's Hangaram Art Museum. A total of 314 questionnaires were analyzed to identify leisure lifestyle factors. On the basis of the lifestyle factors, a cluster analysis was performed, and then the differences of demographics, museum visiting behaviors, and general cultural consumption among the clusters were examined. The cluster analysis revealed four groups of lifestyles, 'culture and art lovers', 'active homebodies', 'low leisure spenders', and 'omnivorous culture and sports participants'. The four groups revealed the differences in terms of demographics, museum visiting behaviors, and general cultural consumption. On the basis of the findings, the marketing strategies targeting the segmented art gallery markets were discussed.

• Asia Marketing Journal
• /
• v.14 no.2
• /
• pp.177-207
• /
• 2012

Today's consumers perceive consumption as a representation of themselves. It is not simply an act that fulfills a consumer's physical and practical needs. Even in terms of life quality, consumers increasingly want to achieve an emotional and sensible experience through consumption. Consumers now make decisions based on their need to express their position in relation to other people, pursue emotional satisfaction, and try to improve the quality of life. Culture-art products that meet such internal and external demands of consumers have made significant improvements in both quantity and quality, because of the social interest and policy support. The recognition of personal and social values of culture and arts has brought about interest in and need for culture-art products. Businesses have agilely embraced such change and actively implemented various marketing strategies utilizing culture and arts. For example, businesses began to sponsor artists who produce culture-art products while building facilities for cultural and art performances or exhibitions. Businesses have also provided performances and exhibitions free-of-charge or at affordable prices. As a result, the supply in the market has started to exceed its demand as is often the case in many of other markets. However, such imbalance has occurred not because of over-supply but because of a lack of demand. Given these circumstances, the government and culture and art related organizations, which had mainly concentrated on the supply side, started to recognize the importance of creating personal and social values in culture and arts. As a result, the government and various organizations are now creating various strategies that include policy measures to achieve their new found goal. Unfortunately however, such efforts are not meeting the expectations. Focusing on above-mentioned circumstances and problems, this study aims to find measures to create demand for culture-art products in the internal conditions of those who consume culture-art products. In other words, given that the demand for culture-art products has not increased despite all external conditions to encourage consumption, this study aims to find the reasons in consumers' value judgment on culture-art products. Though there were recent studies on culture-art products that applied consumer behavior on marketing theories, most of them focused on peripheral aspects such as people's motivation for or satisfaction from watching culture-art events. Hence, there is a need to understand what kind of value consumers perceive from culture-art products and how such value cognition leads to consumption in a comprehensive manner. This study acts as follow-up to a separate study entitled "Qualitative Study about Value Cognition and Benefits of Consumer on Culture-Art Products". The current study aims to extend practical implications that enhance the effectiveness of marketing strategies among the producing and policy agencies in the industry. The purpose of this study is to investigate dimensions of value cognition, benefits and attributes of culture-art products, and identify the effects of consumer value cognition on benefits and attributes. The questionnaire was developed based on the conceptual structure of qualitative research and previous researches. It was composed of value cognition, benefits, attributes of culture-art products and demographic variables. This survey was conducted on-line and off-line among a total of 662 persons ranging from their teens to their 50's who were living in Seoul, Gyeonggi-do, various metropolitan cities, and small and medium-sized cities. The data collected was analyzed by factor analysis and path analysis using SPSS WIN 18.0 and AMOS 16.0. This empirical study found that the dimensions of value cognition of culture-art products were categorized into personal goods, aesthetic goods and public property. This shows that the consumers perceive culture-art products as products that are worthy enough to pay the costs not just for personal benefits but also for their social values. Also the formation of value cognition for culture-art products requires special conditions unlike that for physical consumer goods and services, which simply require marketing stimuli. The dimensions of benefits pursued by consuming culture-art products were found to be composed of four types - pursuit of aesthetic benefits, pursuit of actual benefits, pursuit of emotional benefits, and pursuit of conspicuous character. This result implies that people consume culture-art products not just to pursue pleasure from emotional and intelligent satisfaction as well as social relations, but also to seek the needs and benefits embodied at a social level. The dimensions of attributes of culture-art products had seven different factors, - environmental, price, evaluation, people, artwork, composition, and personal relations - which is plentiful. This is because the attributes of culture-art products are very complicated compared to other consumer goods or services. Since culture-art products include not just cultural or artistic works but also all physical, human, environmental, and systemic elements of the products in a comprehensive manner, consumers perceive everything they experience in the process of consuming culture-art products as part of the products. The dimensions of value cognition was found to affect attributes of the products, mostly using pursued benefits as a mediating factors. This result is consistent with the result of qualitative research, and proves that applying the means-end chain theory in the reverse direction is reasonable. The result can be interpreted that consumers' value cognitions for culture-art products turns into actual benefits leading to consumers' decisions. Furthermore, this result reveals that when consumers choose culture-art products, they take into account the attributes of culture-art products depending on the benefits they pursue. These results confirm that despite their conceptual and abstract attributes, culture-art products have values that contribute to actual benefits for individual consumers and society. Hence, value cognition generates benefits to be pursued and this in turn affects the consumers' choices of attributes on products. Based on the conceptual structure of consumers' value cognitions on culture-art products and its dimensions, it is possible to find detailed methods to provide opportunities for education and training to form and reinforce positive value cognition on culture-art products. And through those methods, it will be possible to develop attributes of culture-art products according to the dimensions of pursued benefits, and allow conceptual products become the subject to valuable consumption in real life. These results provide theoretical understanding of consumer behavior in culture marketing and useful information to culture-art producers, companies that use culture and art, and government agencies that use culture-art as a mean to improve the public perception of quality of life. As a follow up on this study, there should be experimental studies that can develop criteria visualizing the demands of consumers who purchase culture-art products and identify their detailed attributes. Studies that compare characteristics of different areas within the culture-art product category and in-depth studies on a specific area or genre will also be needed. In order to develop marketing strategies for culture-art products, studies on the formation and reinforcement of positive value cognition on culture-art products and education for the development of consumer demand as well as on the development and differentiation of attributes of culture-art products depending on types of consumer groups should also follow.

• Journal of Digital Convergence
• /
• v.19 no.8
• /
• pp.151-160
• /
• 2021

This study aims to analyze the determinants of culture and art consumption of one person households using 「2019 National Art and Culture Activity Survey」. Based on previous research, cultural and economic capital, health perception, and residence were selected as independent variables, and 1,755 single household data on cultural attendance, art education, and demographics were extracted to analyze the relationships. Zero-inflated negative binomial model was employed as cultural attendance variable includes many zeros. It was found that education has a significant impact on cultural attendance possibility and frequency. However, art education in childhood, income, health perception, and residence were found to have selective effects, and unique characteristics of single households influences the findings. This study contributes to developing relevant research by focusing on the single households and provides implications to boost cultural consumption. Finally, directions for future research, such as considering psychographic variables, were suggested.

• Journal of the Korean Society of Industry Convergence
• /
• v.25 no.1
• /
• pp.1-10
• /
• 2022

This study is a marketing tool for securing loyal customers and increasing sales by developing a customizing manual according to the change of segmented nail art consumption pattern due to the development of the nail industry and performing art to meet the needs of various customers and increase satisfaction. This was done to demonstrate the possibility of use. In order to develop a manual for the study, we conducted a survey that combined an online survey and in-person survey for ordinary citizens in their 20s and 50s living in Busan and Gyeongnam. Taste (50.0%) was the highest, and personal preference (62.9%) was also the highest for items related to nail art color selection, suggesting that the consumption pattern is changing to require a variety of personal art preferences rather than recommendations or recommendations from practitioners. Could know. As a result of performing nail art by applying the customizing manual developed based on customer selection, opinions were shown in the order of reliability (39.1%), attachment (39.1%), and rarity (26.1%). Utilization (73.9%) was also high in the question of 'If customizing manual was developed as an app', and overall satisfaction with the art selected by the customer was high, indicating that the customer had a high degree of attachment to the nail art design decided by the customer. As for the improvement points of the manual, it was possible to confirm the necessity of developing the app with the majority opinion that handwriting was inconvenient. Based on the nail art customizing manual of this study, the follow-up research proceeds with the app production and utilization process, and it is hoped that it will be used as a basic data for sales promotion by increasing customer satisfaction according to the rapidly changing consumption patterns of nail customers.

• The Research Journal of the Costume Culture
• /
• v.18 no.1
• /
• pp.177-189
• /
• 2010

The purpose of this study is to research the conspicuous consumption characteristic expressed in the modern fashion. The conspicuous consumptions are classified with 2 parts as follows as: 1. The motive of conspicuous consumption, 2. The effect of conspicuous consumption. And the motive of conspicuous consumption is 1) conspicuous consumption, 2) conformity consumption, 3) compensatory consumption. The effect of conspicuous consumption is 1) veblen effect, 2) bandwagon effect, 3) snob effect. The veblen effect is caused either by the belief that higher price means higher quality, or by the desire for conspicuous consumption to be seen as buying an expensive, prestige item. The bandwagon effect is people tend to follow the crowd without examining the merits of a particular thing. The snob effect refers to the desire to own unusual, expensive or unique goods. The conspicuous consumption has produced conflicting results of the homogeneous imitation and the different scarcity. Consequently conspicuous consumption characteristic expressed in the modern fashion refers to the conformable imitation and the different scarcity. The conformable imitation is pursuit of first lady look and imitation. The different scarcity refers to the desire to own exclusive or unique goods. The unique value is pursuit of limited edition and art mode.

• Fashion & Textile Research Journal
• /
• v.21 no.6
• /
• pp.717-729
• /
• 2019

This study defines critical fashion designs and investigate its critical messages on fashion itself. The critical messages on fashion are categorized into two major issues of a fashion industry system and fashion consumer culture. This study contributes to the understanding of meaning and value for critical fashion messages that match critical art. As the research method, this study combines a literature review and case studies and the research scope focuses on cases that have appeared in fashion media since the 2000s when social critical messages in fashion began to emerge. The results of the study are as follows. Critical designers such as Viktor & Rolf, Elisa van Joolen, Issey Miyake, and Mary Ping have delivered messages challenging the nature of fashion industry system that criticize the cycle and limitation of a fashion system and pursues changes in perception of sustainability. The critical message on fashion consumer culture articulated by designers such as Alexander McQueen, Vivienne Westwood, Hussein Chalayan, and Ricarda Bigolin & Nella Themelios insist on the formation of community while delivering a critical message on social, political, and cultural problems that raise the mechanism of social awareness through fashion design.

• Cartoon and Animation Studies
• /
• s.42
• /
• pp.315-335
• /
• 2016

Culture is being created and consumed as several form by human development. Populace is forming through movement of mass of people to specific place which influenced by urbanization and industrialization. Since cultural products are created on base of economic principles cultural content makers are make culture products after lot of study and analyze. In early days popular culture was accepted only by the meaning of the text which has settled already via country or company which was holding the capital. But today we can apply culture products freely by the power of public opinion and media art's growth. Especially fandom is giving the opportunity to consume the image of cultural products actively and offering the good influence to make it by several ways of activities to the culture producers. In this study, consumption as a cultural group formed by the fandom in public will be transformed into participatory groups by the influence of cultural activities with fan art reproduction. These changes in the consumption of culture products will make it in positive way. Thereby culture creator who thinks fandom as a group of culture capital maker only use it now for the indicator for predicting success of culture products. Will find out in this study how culture consumption is accomplishing by fan fiction and fan illustration in the fandom culture and how reproduced fan art is affects to culture creators.

• Archives of design research
• /
• v.13
• /
• pp.177-200
• /
• 1996

The purpose of this study is to show the textile designers how to be creative and how to accept other ideas which are not necessarily of their own, and to show what exactly creating anything means. During the 1950's and'60s. America and Europe reached their peak in developing their consumption culture. After World War II, America achieved an astonished feat in developing its thechnology and industry to cause the economy to a rapid ascendence. The U.S. government adopted the Keynsian theory in its economic policy. The Keynsian theory advocates the consumer spending. And during this time period the American public developed consumption habit. Mass production and mass media went in hand to induce the public to buy. The public became an important target for the advertising stratages of the industry. In order for the industry to advertise the mass produced products, it had to utilize the mass media such as television, newspaper, and magazine. And mass media came into play an important role not to advertise the products, but to imform and educate the public about the products. This corporate stratege is further enhanced by the desire of the American public to climb up the ladder by way of material possession. Pop Art was born not only in reflecting the ideology of the consumption culture, but acted as a catalyst for more spending. The subjects of Pop Art are cars, foods, comics, Hollywood actors and movie scenes, the famous singers or persons. Andy Warhol specifically used the chosen image repeatedly to emphasize the redundacy of the image. The common factors which exist between Andy Warhol's Pop Art and textile design is the repetition in form, and the way of transferring an image to a canvas - Warhol used the frotttage technique to transfer an image to a canvas and textile design is transferred to a paper by way of transferring technique. Also the way Warhol thought of his paintings as a decorative elements and made a couple of his paintings into wallpapers or exhibits his painstings wall to wall demonstrates his close alliance with the textile design, let alone his comercial design background. In this study, I examined the inter-relationship between textile design and Pop Art. To carry out this study, I examined the comsumption culture: and the biomorphic relationship of culture and art: and Pop art and its transience stage. The major finding of this study is there exists a common denomenator between textile design and Pop Art, especially of Andy Warhol's.