• Journal of Fashion Business
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• v.24 no.2
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• pp.100-118
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• 2020

The purpose of this study was to identify the characteristics and meaning of collaboration with artists who have been with Louis Vuitton, focusing on bags, which are representative products of the luxury Louis Vuitton brand, -The research method was literature research and case studies. The theoretical study was based on previous studies and literature examine the concept and type in collaboration and to examine the trend in fashion and art collaboration. The case study was conducted after 2000 by collecting collaborative works between Louis Vuitton and artists based on their homepage, fashion information, and collection sites. Five artists and six artists(Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self and Jonas Wood), including Stephen Sprouse, Richard Prince, Takashi Murakami, Kusama Yayoi, and Jeff Koons, were analyzed for the art collaboration cases and contents that were conducted mainly on bags. This study found the following collaboration characteristics: first, classic image innovation: fun and lightness; second, deviating from the boundaries of fashion bags: the art of life, and third, building high-end luxury brand differentiation: scarcity and the introduction of authorism. It is expected that the basic data will be presented in the study of art collaboration design of fashion bags as well as academic data on the differentiation of luxury brands and the artisticization of products in the future.

• Journal of Fashion Business
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• v.20 no.2
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• pp.149-164
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• 2016

The purpose of this study was to analyze the cases of IMF Managing Director Christine Lagarde to discuss power dressing characteristics represented in the fashion style of women political leaders. Study methods included literature reviews on the theoretical background of Christine Lagarde's Political Leadership formation and the power dressing of women political leaders. The results of the study were as follows. First, governor Christine Lagarde's fashion styles worn at formal events were summarized into suits, bags, scarves and jewelry. Clothing type was found to be 98% suits, 5% dress with the colors black, gray and white being worn the most, 84% were achromatic, blue tones and vivid tones were about 16%. Faborite accessories included scarves, jewelry and luxury bags. Scarves were higher frequency utilization at 51% of the total wear. Second, characteristics of power-dressing appearring as fashion styles were summarized as wealthy, honorable, having political power, being, charismatic or, feminine. Luxury suite luxury brands holds a sense of power with many believing they wealth, honor and charisma. Luxury bags, V-zone ornaments of scarves and, jewelry are items of power that people often wear in order to charisma and a symbol of power. They are also, used as an important element in portraying confidence and leadership as IMF governors.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.219-238
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• 2014

This study attempted to investigate present condition and product planning of global eco-fashion brands that harmonize fashion and sustainability. As research subjects, this study selected 97 oversea fashion brands mentioned in books related to eco-fashion, Black(2011), Brown(2010), Fuad-luke(2009). As for research methods, materials and ethical practices of these selected 97 brands through literature data and their internet site homepages. This study analyzed oversea eco-brands collected 26 British brands, 22 American brands, 36 European brands such as Germany, France, Italy, Sweden, Spain, Finland and so on, except Britain and 13 other regions including Japan, India, Canada, Mexico, and New zealand. In conclusion, the product planning characteristics of these oversea eco-fashion brands can be summarized as follows; community and fair trade, ecological and slow design, recycle, reuse, redesign, and new eco-models. Firstly, brands of 'community and fair trade' manufactured products through fair trade and local community's artisan by ethical practices with organic fabrics. Secondly, brands of 'ecological and slow design' pursued timeless design and multi-functional design as luxury eco-fashion styles. They used organic textiles, hemp, bamboo, soya, tencell, sea cell, and self-sustaining plants. Thirdly, brands of 'recycle, reuse, redesign' aimed for upcycling high-end fashion and used vintage clothes, textile scraps, PET, parachutes, tires, safety belts, advertising banner and so on. In addition, brands of 'new models as eco-fashion' suggested zero-waste cutting, recycling over-printing technology, new sustainable business model, and ethical practices in the supply chain of the fashion industry.

• Journal of Fashion Business
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• v.9 no.1
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• pp.120-136
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• 2005

The purpose of this study is to analyze consumers' perceived risk which is shown in the process of purchase phase and consumption phase for the counterfeits of fashion luxury brands and to analyze the interrelationship of each type of perceived risk. The research method of the study used a qualitative approach. 6 informants were selected and then an in-depth interview was held with them. Through this process the data on the perceived risk for counterfeits were collected and analyzed. The results of the study are as follows; The perceived level of psychological risk including counterfeits exposure was extremely high; besides, economic risk and performance risk were also perceived. On the contrary, the perceived level of social risk and fashionability loss were relatively low. The risk perception for counterfeits appeared not only on the purchase phase but also on the consumption phase, and when perceived risk existed on the consumption phase, it had an influence on the level of perceived risk on the next purchase phase. However the psychological risk was continuously perceived on both purchase and consumption phase, even if it did not exist on the consumption phase. Psychological risk, economic risk and performance risk were not independent but interdependent. Moreover, the entire level of perceived risk could be controlled by reducing the level of other perceived risks when a certain type of risk was highly perceived.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.173-182
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• 2022

As consumption pattern and fashion communication become digitalized, fashion houses are being inherited by creative directors owing to their expanding role. While the roles and responsibilities of creative directors have been changing extensively along with the dynamic nature of the fashion industry, researches on creative directions have mostly focused on luxury brands. This study examined the creative direction of John Galliano for Maison Margiela, a conceptual brand to be maintained by a creative director. To analyze this, the authors established a creative direction analysis model constituting five elements: brand heritage, trend, democratization, brand status, and persona, drawing on the luxury brand architecture by Kapferer and Bastien. Thus, Galliano has maintained anonymity as a heritage of Maison Margiela, expanding the existing Replica lines, and introduced fashion shows focusing on current issues or social phenomena. As a democratization strategy, he directed the brand to associate with more popular brands or expanded diffusion lines to secure broader customer base, while demonstrating couturier-like showmanship in the media and establishing his own persona. His direction for Maison Margiela recreates and expands brand heritage by transforming the brand philosophy. Therefore the new creative direction communicates with the wider public and diversifies customer bases through democratization strategies, while building Galliano's own persona.

• Journal of Fashion Business
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• v.8 no.4
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• pp.117-130
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• 2004

The purposes of this study were to find out highly market sharing young casual brands, to compare their trends of concept and competition, and to propose orientation of brand concept repositioning and marketing strategies on Department stores. Reference searching method and field searching method were used for this study. The results were as follows: 1. The brands which covered more than 50% market share included <96NY> . 2. Price range of these brands was from 130,000 to 220,000 won. The brands of upper-moderate price zone included <96NY> and they were very competitive each other. The brands of moderate price zone included and they were also very competitive between them. However, the brands of lower-moderate price zone had lower competition. This price zone might be a good point to launch new brands. 3. The main target-age of young casual zone was from 17 to 30 years. The most of brands focused on 21-25 years old, which were higher age targeted before. 4. The main concepts of these brands were 'luxury, girlish, sexy' and 'Sportism, lifestyle' were sub-concepts.

• Journal of Digital Convergence
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• v.10 no.1
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• pp.203-213
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• 2012

This paper attempts to find out the psychological characteristic factors of Korean consumers, and to identify how they influence consumers' attitudes toward the products for the world famous brands. The related literature refers face-consciousness trait, boast trait and ritualism trait to the main research objectives of this research. As results, 3 underlying factors are found to underly the 'Chemyon(social face)', 6 factors to 'Uzzul(Boasting)'. Multiple regression analysis reports that 'Uzzul(Boasting)' trait has a significant influence over the consumer's attitudes toward the product for the famous brands, and Chemyon(social face) trait has the same effects as well though with less statistical weight. The paper's findings suggests academically that we need more serious research endeavor to understand consumption propensities that are salient to Korean consumers. And, they also imply that advertising creative director would implement the knowledge in developing creative strategy for brand advertising.

• Journal of Fashion Business
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• v.27 no.2
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• pp.70-87
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• 2023

Today, VR, AR, and MR technologies that travel between real world and virtual world are rapidly developing. These technologies are adopted in luxury fashion brands for virtual fashion shows and runways, virtual retail shops and virtual fitting services. Despite its growth potential and social importance, virtual fashion space has been studies insufficiently. Therefore, this study aimed to examine the consumer experience on the virtual fashion space types, components of virtual fashion space, perceived value, and continuous usage intention. Prada, one of the most active luxury fashion brands in the VR field, was selected as the stimulus for an in-depth interview. Participants experienced virtual fashion show space through VR device (Oculus Quest 2 from Meta) before responding to the questions about their experience. Results showed that material space was more like virtual whereas perceptual space felt like reality. Participants could imagine about more virtual image from material space and more real image from perceptual space elements. Moreover, perceptual space enhanced the immersion, presence, and interactivity compared to material space. Most participants perceived that the virtual fashion show was useful and playful, leading to the continuous usage intention. It implies that improvements for some technical limitation from VR device and virtual contents can provide quality consumer experience in the future. Based on results of this study, fashion companies can establish useful marketing strategies for consumers' immersive and playful experiences when introducing virtual fashion space.

• Journal of Fashion Business
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• v.20 no.6
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• pp.111-134
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• 2016

A luxury brand bag is a medium to symbolize brand identity and plays a role in enhancing brand value. A typical example is a designer signature bag such as Hermes Kelly Bag, Birkin Bag, and Lady Dior Bag. The purpose of this study is to analyze the design changes and acceptance of identity of luxury brand bags and examine the design characteristics that succeed to the value of a luxury brand bag. The subjects of the study focused on Louis Vuitton, Gucci, and Chanel bags. Photos were collected from www.vogue.co. uk. based on the fashion collections from S/S 2007 to S/S 2016. The study methodology was to analyze the kinds, shapes, colors, materials, and the ornament of subject bags based on previous studies. The results of the study were summarized as follows. For the identity and design changes of each brand, Chanel has tried to combine functionality pursued in the past with constantly changing femininity by making bags in fantastic moods using various materials and free shapes. Gucci has constantly used Ornament elements holding the brand identity of classic bags and trend colors to keep tradition. Louis Vuitton holds fast to its functional shape to protect brand identity through design philosophy that started with a travel luggage and attempts to express modern emotion through Ornament changes. This study confirmed that luxury brands have accepted their unique design characteristics holding brand identity to improve their brand value and attempted to change constructive elements in many different ways for modern reinterpretation.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.11
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• pp.1719-1732
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• 2009

A firm seeking to enter a foreign market must make an important strategic decision of which market entry mode to use. Because entry modes involve resource commitments, the initial choice by a firm on a particular entry mode is difficult to change without a considerable loss of time and money. Substantial prior research has been undertaken to explain why firms select a particular entry mode into global markets. However, there exists limited research on this area in the field of foreign apparel brands in Korea, although some research has analyzed influential entry mode factors when Korean textile and clothing companies went overseas. This study reviews prior research on the entry mode choice and analyzes the factors that influence the entry mode choice for 510 foreign clothing brands in Korea. Price range, clothing types, distribution strategy, and cultural distance were considered as influential determinants for different entry mode choices. Crosstabs with a chi-square test and logistic regression are used for analysis. This study shows that high-priced brands and luxury brands are associated with the export orientated entry mode in the Korean market. Brands that pursued the strategy of multiple distribution channels showed a preference for a licensing mode or direct investment over other entry modes, and brands from higher-cultural-distance countries entered the Korean clothing market by licensing mode. The findings of this study are appropriate for the strategic planning of foreign apparel intent on entering the Korean market or for Korean apparel firms planning to enter the global market.