• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.91-96
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• 2008

As the interest on popular culture has began to be expanded to a general living culture through 'Korean Wave(韓流)' and is in profess of the 'strategy to support Korean(韓) brand' to enhance our cultural standard and create a worldwide brand value in traditional culture. The purpose of this thesis is to make suggestion for production of an effective and differentiated advertisement photo in Korean(韓) brand fashion product on the basis of a Korean image. First, the Korean image is like the unique culture or history in Korea which enables us to feel our identity such as Korean clothes, houses, Hangul. Especially it was found out that the characteristic of a traditional costume in our country included a natural beauty, neatness, purity and calmness, etc and positive intention was expressed on a production of a fashion, photo, graphic of a Korean image.

• Fashion & Textile Research Journal
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• v.25 no.4
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• pp.460-471
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• 2023

This study aimed to analyze the consumption value and clothing pursuit benefits of genderless fashion based on gender identity. The study questionnaire was distributed to and collected from men and women in their 20s and 30s living in Seoul City and the Gyeonggi province. The collected data were analyzed by using Cronbachs α, factor analysis, K-means group classification analysis, and ANOVA. The study results were as follows. First, gender identity was categorized into three groups: the genderless group, the traditional gender rejection group, and the traditional gender acceptance group. Therefore, it is necessary to subdivide gender identity rather than acceptance and rejection of traditional gender roles. Second, an analysis of consumption value based on gender identity showed significant differences in terms of fashion value and expressive value. Therefore, it is important to establish a differentiated strategy based on the relevant gender identity group when establishing genderless fashion design or marketing strategy. Finally, the study results showed that clothing pursuit benefits based on gender identity, there was a significant difference in terms of individuality pursuit, deviation from the norm, and fashion pursuit. In particular, since the genderless phenomenon agrees with the characteristics of the MZ generation, it will be necessary to share brand information or product information through digital media or to utilize a sharing culture-that is, 'meaning out' tendency and 'flex culture' (i.e., conspicuous consumption).

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.220-232
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• 2010

Companies have been difficult to capture the minds of consumers by staying in the sales phase in order to sell products. The marketing and brand management strategies of more understanding consumers and systematically managing for the perception of them are becoming important. Since launched, EXR has implemented a systematic brand management process from its early stage. Based on the idea of 'brand asset by customer' by Kevin Lane Keller that the total of consumer brand knowledge ultimately completes the company brand power, 'brand asset', to satisfy areas of 'functionality' and 'design', EXR pioneered its ultimate brand asset which is 'CAPORTS' and established its own identity called, 'PROGRESSIVE'. For the success of a brand management, there must be a clear vision supported by the determination of a specific brand identity. Also, it needs to be shared by members of the organization, and to maintain and manage it in the long run, an integrated management strategy is essential. On the basis of such identity, EXR was able to carry out the integrated management for its brand and the overall implementation of the marketing strategy. Therefore, In this study, we seek for a sustainable brand management strategy of fashion brand by looking into the process of the EXR's brand establishment.

• International Journal of Costume and Fashion
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• v.4 no.2
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• pp.10-17
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• 2004

This study aims to take s look at the role of brands in the life of consumers and particularly, in the life of adolescent consumers. What I have to command is representative of events in the lives of teenagers in the U.S. but it has application for college-aged individuals as well as young adults. I am particularly interested in understanding relationships between the concept of brand and the development and maintenance of self.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.5
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• pp.796-808
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• 2017

This research shows how fashion curation service consumers (both fashion and image consultants) reveal different aspects towards a preferred image type among the correlation of fashion curation service usage motivation and fashion shopping propensity. These preferences also included the purchase intentions for fashion display service products. This study surveyed 300 men and women between the ages of 20-30 who were the main consumers of fashion curation services. 'Convenience, fashion trend, and exploratory' increased purchase intentions for fashion shopping propensity, 'information search for utility, entertainment, and personal expression' increased purchase intentions for fashion curation services and 'brand identity, consumer lifestyle, and product information' increased factors for the fashion curation service preferred image type. Consumer preferences varied according to different fashion curation service image type; however, all consumer group syndicated a difference in fashion curation service actions. For instance, fashion curation service consumers preferred a consumer lifestyle image, convenience, hedonic shopping orientation, and personal expression motivation had a positive influence on product purchase intention. However, the shopping orientation of 'fashion trend, practical information exploration, and entertainment motivation' had an optimistic influence on product purchase intentions for fashion curation service consumers who preferred a brand identity image and a product information image.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.5
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• pp.587-600
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• 2011

This study presents the strategic directions for Korean multi-brand fashion stores by running in-depth industry research and market analysis. Over 20 professionals were selected from Korean multi-brand fashion stores for this study and in-depth interviews were conducted to evaluate related subjects. The results of the study were as follows. First, Korean multi-brand fashion stores could be classified into three criteria: operating ownership, merchandise mix, and store identity. Second, operating ownership criterion was chosen for further investigations of strategies and directions of the multi-brand fashion stores. The operating ownership criterion consists of three types; department store types, specialty store types, and boutique types. Each type deploys different buying practice, organizational strategies, and distribution channels. Lastly, the suggested strategic directions for each type are summarized as follows. The 'department store type' should utilize its strong direct buying capabilities and acquisition of merchandising can be more effectively managed. The store should utilize its strong buying power as a tool to develop new private brands (PBs). For 'specialty store type', two key factors have been derived: market share expansion and positioning themselves to become a new distribution channel. To respond to these factors, the store needs to be perceived as a brand then diversify its business. Strengthening its brand will allow it to expand into a new distribution channel and also enable a strategic partnership with its competitor brands. The factors influencing 'boutique type' is personalization and uniqueness. With an emphasis on the uniqueness of products and merchandising it will be able to implement the role as a personal shopper and stylist to provide a very personalized service to its customers.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.

• Journal of Fashion Business
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• v.3 no.4
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• pp.103-112
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• 1999

The purpose of this study is to investigate the various expressions in fashion design using logo. For this study, fashion magazines such as Vogue, Elle, WWD, Hi Fashion, Mode et Mode, Fashion News, Collezioni were analyzed. A corporate identity consists of the logo and name owned by a company together with the rules and guidance on how these are to be used, for example in printed material such as letterheads, catalogues and reports, in advertising, marketing and promotion, and on produsts and services. Logos provide the bedrock for the development of corporate identities, for the evolution of commercial brands, and for the nurturing of corporate culture. Logo is a primary means of communicating corporate values to customers and designers. It represents an asset of incalculable value, because it has been consistently maintained and protected over the years. The logo is the cornerstone of the company‘s image and the style of a logo or products name must harmonize with the feeling of the product or brand image. Fashion designers today are using their logos in different forms of communication. It is common to see a brand’s logo proudly emblazoned the classic chic garments as well as accessories such as bags, shoes, caps. The consumer, then becomes a ‘walking ad’ for the brand.