• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.25-37
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• 2005

This is a study on the origin of fashion imaging. First of all, 1 looked into the history of French fashion printmaking from late 16th century to early 19th century. Then studied the changes in the characteristics of context and form over the different periods and summarized each concept. At the same time, I looked into the process of fashion magazine evolving from fashion printmaking. In order to find out how fashion printmaking dealt with the characteristics of fashion media, 1 researched the commercial environment of fashion printmaking and reorganized the methodology of its media's role. Such analysis and results helped to reach a definition on how to regulate fashion printmaking. Fashion imaging was sparked by a small curiosity. As people began to be rage over new things, it came to introduce the fashion leaders of the public combined with the attributes of trend. At times when changes were so big that they were unpredictable, it itself became a fashion leader. Then a fashion creator emerges and it's function changes to that of a communication media. Moreover, the regular issuance of fashion printmaking implemented the concept of trend cycle and fashion imaging completely fulfilled the conditions of a communication media. The massive increase in the production of fashion printmaking and magazine contributed to the spread of fashion and the diffusion of printmaking lead to mutual complementation and synergy necessitated by fashion. Thus, the democratization of fashion and the commercialization of printmaking art occurred at the same time.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.128-145
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• 2016

Unlike the past, when fashion brands adopted unilateral communication with their consumers, the brands today have recognized the importance of bi-lateral communication. This has led to the companies producing fashion films as a means to elicit a consensus in opinion between the brands and the consumers. Such fashion films should be understood as films using fashion that transcends time, and also as a type of fashion media. This study, which is based upon the understanding that fashion films are a part of strategic marketing for enhancing the value of brands, used domestic and international literature in order to define fashion films, and establish a theoretical basis for these films. Corroborative study was also conducted for the purpose of practical categorization. This study aims to investigate the characteristics of fashion films, and to suggest a new approach to the study of fashion films. The study adopted the research methodology used in Dudley Andrew's film theory in order to create a theoretical frame that can be used to categorize fashion films. The theory is of significance because it is the basis for the category of motion picture fashion film and media technology fashion film. The study on the categorization and the characteristics of fashion films based upon 6 sub-categories shows a consistent trend of fashion films. From the results, it can be inferred that the films contribute, in part, to the enhancement of brand value. Fashion films have shown rapid growth with the mixture of other media, and with the introduction of cutting-edge technology. Fashion films can be used as new marketing methods for the fashion brands in this digital age.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• Fashion & Textile Research Journal
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• v.14 no.3
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• pp.381-389
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• 2012

This study presents a marketing communication strategy from the aspect of new consumption orientation. Consumer preference on ads media, on-line ads media, and WOM usage were examined for new consumption orientation groups. This study was executed in a question survey format. A total of 182 questionnaires were obtained and data were analyzed by PASW 18.0 and AMOS 7. The results were as follows. First, 8 types of consumption orientation factors were revealed; 'impulsive purchase', 'promotion oriented', 'social contribution', 'passive conformity', 'innovative', 'conspicuous', 'rational', and 'environmental conservation'. Then 4 groups were formed, 'Rational & Positive', 'Conspicuous Conforming', 'Positive Social Interested' and 'Low Price Oriented'. Second, communication responses were analyzed through consumption orientation groups. The 'Rational & Positive' group responded positively to every type of advertising media (especially new media). The 'Conspicuous Conforming' and 'Positive Social Interested' groups preferred traditional media such as TV, radio, and magazines; in addition, the 'Low Price Oriented' group liked only online banner ads. For WOM preference, the 'Rational & Positive' and 'Positive Social Interested' group preferred verbal consumer information like WOM. In distribution types, the just 'Positive Social Interested' group revealed a significant result for internet shopping malls. The results from this study will help establish marketing communication strategies based on the features of consumption orientation.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.994-1014
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• 2018

The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.

• Korean Journal of Human Ecology
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• v.11 no.1
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• pp.69-78
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• 2002

The purpose of this study was to investigate the application of fashion-related web sites and their evaluation. 76 college students major in fashion design were surveyed and the evaluation criteria were classified into five categories such as the accuracy/reliability, the design of a picture, the ease of application, the communication/security, and additional services. The results of this study were as follows: 1. College students used web sites mostly to search for fashion trend information from magazine and fashion information sites. 2. While the media site was excellent in the evaluation criteria such as the accuracy/reliability, the design of a picture and the communication/security, the fashion information site was excellent in the evaluation criteria such as the accuracy/reliability, communication/ security and additional services. 3. The media site and the fashion information site generally ranked high and the fashion brand site ranked low in most evaluation items. 4. By the results of ANOVA, 12 items showed significant differences out of the total 19 items. 5. Out of the total evaluation items, the design of a picture ranked highest and the external link function ranked lowest.

• Journal of Fashion Business
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• v.28 no.1
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• pp.68-82
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• 2024

The fashion industry has been placing great importance on establishing and communicating brand identity in response to the rapidly changing landscape of consumer preference and media development. This study aimed to explore effective communication methodologies for building a strong brand identity for domestic designer fashion brands. To achieve this, trends in the domestic fashion industry were categorized, and key words were derived to develop three new communication methodologies through an analysis of 10 domestic brand cases. This study confirmed that a strategy that focuses on forming emotional relationships with consumers is essential for establishing brand identity. To this end, the proposed communication methodologies include the following: First, delivering sustainable messages through emotional storytelling, which is a key approach for building emotional bonds with consumers. Second, expanding the brand experience to elicit positive responses from consumers by immersing them in special situations to experience brand identity. Third, brands can enhance consumer brand loyalty by fostering continuous relationships with consumers and cultivating brand culture through omnichannel strategies that encompass both offline and online channels. Consequently, this study presents practical strategies for various fashion brands along with theoretical contributions to domestic fashion brand startups and brand identity construction. With these strategies, it is anticipated that brands will establish clear and specific content and build a stronger brand identity by engaging in diverse communication methods that offer consumers sustainable values and brand experiences.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.121-144
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• 2022

This study analyzed the effects of fashion creators' innovativeness and attractiveness on consumer response and orientation toward a sustainable relationship in personal media. A survey was conducted with consumers aged in their 20s and 30s who had experience in sharing video content or writing comments and participating in fashion creators' real-time broadcasting of personal media. The results show that the innovativeness of fashion creators was classified into originality, opinion leadership, variety, and adventurous spirit, while attractiveness was classified into physical, social, and professional attractiveness. Consumer responses were classified into either emotional or cognitive responses, and sustainable relationship orientation was classified into communication, sharing, and relationship sustainability. The originality and variety of the fashion creators positively affected the emotional and cognitive responses of consumers. Adventurous spirit positively affected emotional response, whereas opinion leadership positively affected cognitive response. In addition, the social and professional attractiveness of fashion creators positively affected consumers' emotional and cognitive responses. Emotional and cognitive responses positively affected consumers' sustainable relationship orientation. The originality and opinion leadership of the fashion creators positively affected the three factors of sustainable relationship orientation, while variety positively affected communication and relationship sustainability. Fashion creators' social and professional attractiveness positively affected the three factors of sustainable relationship orientation, and physical attractiveness positively affected relationship sustainability. The results of this study are expected to provide useful data on the direction of fashion startups using personal media and marketing as well as distribution strategies in the fashion industry.