• 복식
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• 제55권7호
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• pp.22-37
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• 2005

The purpose of this study is to analyze TV drama clothes that is reflected in domestic TV fashion style. Frist of all, luxiry look is one of drama cloth's signiture look. It takes a imported brand wear and a high price accessories. Especially, the hero and heroine of the drama 'Fine lady' wear imported brand jacket and a accessories as earrings, shoes and bags are in fashion. Also the hero of the drama 'The room of a roofiop's cat' wear Armani shirts and Kenzo suits. Second, nowadays sportive look is one of fashion trend and young people's representative look. The drama 'The room of a rooftop's cat' has define trends when it comes to training wear. And the training wear is a big hit because of drama 'The room of a rooftop's cat' hero and heroine. Third, utility look shows a practical wear and comfortable wear The utility look's items is shirring T-shirt, cargo pants and jeans. In addition to that drama's hero and heroine make a lots of fashion. The hero of drama 'Winter sonata' of hair style and matching muffler is in fashion. Also TV drama's fashion is a potent influence.

• 한국의류학회지
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• 제42권2호
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• pp.278-297
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• 2018

This study examines the concept and type of art marketing used by luxury fashion brands as well as to elucidate the productive outcome of art marketing based on art marketing case studies. The research methods adopted in this study were a literature review and case studies. The scope of the research focused on companies operating luxury fashion brands such as Louis Vuitton S.A., Kering Group, Prada S.p.A., $Herm{\grave{e}}s$ International S.A., Salvatore Ferragamo Group, Giorgio Armani S.p.A. and Compagnie $Financi{\grave{e}}re$ Richemont S.A.. The results showed that luxury brands using art marketing to enhance the competitiveness of the company by combining art and marketing mainly incorporate the following types of art marketing: art foundation and museum, art sponsorship, art collaboration, advertising campaign, exhibition promotion, and flagship stores. In terms of the outcome of art marking by luxury fashion brands, it was found that art marketing facilitates company activities help companies acquire a positive image from revitalizing culture and art, produces increased profits for the companies due to increased product sales as well as expands the marketability of respective companies through company PR and brand promotion, customer satisfaction by providing cultural space, artistic places and new experiences.

• 복식
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• 제66권5호
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• pp.16-32
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• 2016

This study examines music visualization characteristics appearing in Giorgio Armani's S/S 2000 Collection and Genny's F/W 2000 Collection, which elicited and reinterpreted the characteristics through an analysis of Kandinsky's paintings. Study results are as follows. First, music visualization characteristics were extracted through an analysis of Kandinsky's works to examine music visualization that appears in contemporary fashion. Further analysis of Kandinsky's works were done in regards to music visualization (Impression, Improvisation, and Composition), and music visualization characteristics were categorized into 'spatial element', 'mobility', and 'overlap'. Second, the analysis of contemporary fashion with a spatial component showed that space was often clothed through color contrasts that highlighted concise and playful effects. Emphasis on line and three-dimensional effects were shown by overlapping lines and costume pleats with exposure expressed by semiotic forms and fabric character4istics. Third, the analysis of clothes that express mobility shows that they commonly express mobility through free color arrangements and a shading of colors with playfulness. The effects of emphasis, uniformity, and exposure were shown through the gloss and transformation of fabric that emphasized fabric characteristics; in addition, the effect of simplicity, three-dimensionality, and uniformity were expressed by adopting the forms of geometric shapes. Fourth, the analysis of clothes that manifest the overlap showed a predominant overlapping of colors and fabric. The esthetic effects of playfulness and exposure were emphasized through colors, shapes, and lines.

• 한국의상디자인학회지
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• 제6권2호
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• pp.89-102
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• 2004

Modern society is age of sports just as health and leisure became dominant concern, which has caused the fixation and development to sports wear considered as fashion for everyday dress. This paper focused on the development process and aesthetic characteristics of knit design expressed in the 20th century sports wear. The importance and direction of knit design in modern sports wear is expected. Style, items, fabrics, colors, details and top designers were analyzed in sports wear from the 1910' s to 1990' s. Sports wear can be categorized into two of the active sports wear and spectator sports wear. Since disappearance of division between ordinary wear and sports fashion in the 1970' s, the functional wear of leggings, cycle shorts, exercise clothes, leotard, and leg warmer appeared. Vicennial developments of synthetic fibers and new fabrics have caused the great changes in knit design. Colors were vivid in the 1950' s, metallic in the 1970' s and neon in the 1990' s. Sportive sense was expressed by various details. The dominant knit designers who expressed aesthetic characteristics to sports wear were Coco Chanel, Claire McCardell, Balenciaga, Andre Courrege, Pierre Cardin, Yves Saint-Laurent, Ralph Lauren, Donna Karan, and Giogio Armani.

• 복식문화연구
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• 제13권5호
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• pp.844-855
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• 2005

The purpose of this paper is to examine which fashion brands are most likely to be investigated by Korean textile firms when they conduct their market trend analyses. The result shows that for the domestic sales, textile firms are most likely to collect and analyze information on the Cheil Textil Co. It is followed by Bean Pole, Chanel, Buberry, Tomboy. For the future domestic sales, textile firms prefers referring foreign fashion brands such as Burberry, ZARA, MaxMara, Missoni, and Chanel. Textile firms majoring exports prefers collecting and analyzing information on D&G followed by Chanel, Gucci, and DKNY. This preference, however, differs when considering exporting areas. Textile firms targeting the French market considers Gucci, followed by Ferragamo, Dior, Louisvuitton. Textile firms targeting the Italian market prefer Chanel, followed by Valentine, ZARA, Gucci, and Armani. Chanel is also top brand for the North American and Japanese markets, and followed by GAP, ZARA, OZOC, Missoni, Munshing Wear. The information content collected and analyzed by textile firms is style, pattern, color, and textile materials for textile firms targeting the domestic sales, while the exporting firms prefer information on color and textile materials proposed and presented by the fashion brands to which they prefer to make reference. The result of this study can be used to effectively and efficiently collect and analyze market information on fashion brands for textile firms majoring the domestic and foreign sales.

• 복식문화연구
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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.

• 복식
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• 제62권7호
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• pp.150-169
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• 2012

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of 'architecture for fashion' in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, 'Armani Group', 'PRADA' and 'Comme des Garςcons.'

• 한국의류학회지
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• 제30권9_10호
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.

• 한국의류학회지
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• 제36권10호
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• pp.1058-1073
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• 2012

This study examines the effects of collaboration type and brand sensitivity on consumer responses toward fashion collaboration brands. For this study, six brands of fashion collaboration were selected by collaboration types: collaboration with same industry (Uniqlo-Jill Sander, H&M-Sonia Rykiel, and Levis-Jean Paul Gaultier) and collaboration with different industries (LG-Prada, Samsung-Armani, and LG-Levis). A selfadministered questionnaire was developed based on the literature that mainly included brand sensitivity, consumer response (brand association, brand values, and purchase intention), and marketing strategic elements in the context of fashion collaboration. For collecting the data, respondents were asked to choose and assess a previously purchased brand. A total of 299 usable data responses were obtained from Korean consumers aged from 15 to 40 years old. The consumer response toward the fashion collaboration brand consisted of four factors: Emotional value, perceived quality, symbolic value, and brand association. The results showed that the collaboration type had the main effect on emotional value, symbolic value, and purchase intention. Brand sensitivity had the main effect on brand association, emotional value, symbolic value, and purchase intention. There was also an interaction effect on emotional value. With respect to strategic marketing elements, product differentiation, premium pricing, and value pricing had partially positive effect on consumer responses; however, promotion had a negative effect on consumer responses (e.g., perceived quality, and emotional value). In addition, collaboration type or brand sensitivity moderated the effect of strategic marketing elements on consumer responses. This study discussed a managerial implication to develop a strategic brand alliance to manage brand equity in the fashion marketplace.

• 한국의류산업학회지
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• 제20권2호
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.