• Archives of design research
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• v.15 no.1
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• pp.349-358
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• 2002

CIP, or Corporate Identity Program is a program to standardize, conforming to a set of regulations, various visual media which form a corporate environment based on the concepts drawn from the corporate strategies in order to actively create a planned but ideal corporate image. However, both the recent corporate renovation and the emergence of a new type of corporations prompted by a rapid change in an corporate environment caused the existing corporate concepts to be adapted to such a change. Particularly various visual media related to a corporate image are getting digitalized, and the emergence of a new and varied type of visual media give rise to a new pattern of the identity design accommodating such changes. It may be improper and insufficient for the existing CIP to be applied on the franchising business which is considered most suitable for the new corporate environment. Business firm's office work has long been operated in an computing environment where the computer does all the work, and an individual home as well as small business began widely using the computer. It may therefore be necessary that the corporate identity design for the franchising business should include not only the use of visual media but new, ultramodern information media as well, departing from the CIP heavily centered on the usual print media. This study, for this reason, separates the identity design for the franchising business from the existing CIP to call it FIP, or Franchise Identity Program, and discusses its concept and details.

• Korean Institute of Interior Design Journal
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• v.17 no.6
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• pp.128-136
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• 2008

It wouldn't be exaggerating to say that we're living in a "Brand age" these days. Brand is easily spotted anywhere around our surroundings, influencing us in a material and a moral way. BI(Brand Identity) which brings increase on sales by constructing and improving the brand image, are infect visually compressed Identity designs that will give the interior space that have applied it, superiority in building a unified image. Then, graphic plays an important role in expressing Identity designs visually. These days, interior space graphic is an emotional field that can materialize images, which became an important expressing medium that offers various images and creativity and show interior space's brand identity. In this manner, space graphic that applies identity designs, clearly states brand's intentions on space communication and users by designing company images or brand's emotional factors visually and dimensionally. Also, it escapes plane level, and gives space, dimensional and kinetic elements, which can give differentiation with other brand's space. These kinds of flexibility let space graphic be used efficiently in extending space identity.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.234-245
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• 2013

The modern fashion was developed the basis on the western dress structure and its historical flow was continued until today. Particularly, the Britain has coexised the unique cultural identity in the aristocratic high culture and rebellious tendency of the subculture so it is necessary to the consideration about whole culture in order to grasp the British fashion identity. The purpose of this study was shown the methodological framework of the culture identity research of one country through the background of this formation of culture and process high culture and subculture study by analysis the culture identity in the today's Britain. Also, the purpose of this study that it draws whether the feature of the British fashion shows up as any aspect in this culture identity. The range of this study subdivides and considers with the imperialism, industrial revolution, aristocratism, union nations, and geographical aspect as the island country into the economy, politics, society, and natural characteristic about the Englishness and the notion of British culture then it draws the dichotomy of the British fashion through the culture identity formed in this society cultural background with both sides in the high culture and subculture aspect.

• Journal of the Korea Furniture Society
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• v.23 no.4
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• pp.485-495
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• 2012

Full-fledged competitions in Korea have been held since 2000, while the competitions have shown a wide variety of chaos in holding, deploying, developing, declining, and suspending them from the context of uncountable needs and demands. At the present time, we have to establish an identity of the competitions, being aware of the importance of it. And positive efforts should be made to prepare the future. "Gyeonggi Furniture Design Contest" that started in 2003 and became 10th in 2012, should be evaluated by the performance and operation seriously. Therefore, as the GFDC related data for 10 years are diagnosed and analyzed thoroughly, its identity will be established. Finally, the competition will be able to create the progressive strategy and concrete measure to develop the steps on an international design competition.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2008.11a
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• pp.203-208
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• 2008

The purpose of this study was to propose the design concept for the brand identity communication of the housing cultural center. The case studies, case of two flagship stores and two housing cultural centers, were used in this study for analyzing each case‘s characteristics, brand identity components and design components. As the result of this study, there are differences between the flagship stores and housing cultural centers. The major differences are as follows. First, the flagship stores offer variety of experiences in the store so people can enjoy a lot of unexpected programs whereas the housing cultural centers do not have ones. Second, the flagship stores have dramatic facades so that people want to enter the space even though they do not need to buy anything. However, the housing cultural centers do not have any exciting elements in the facade even most of them are located in the downtown. Moreover, people can have a lot of visual and emotional experiences in the flagship stores from unique merchandising display, changeable wallpapers, movable walls, etc. In other words, designers who are in charge of housing cultural centers should consider carefully to design both interior and facade. Also, company should invest their efforts to make better housing cultural centers because they are the best way to express their own brand identity.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.185-195
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• 2014

This study is to develop marine fashion items for various marine leisure activities based on the identity of Busan. Motifs from the fireworks festival and image colors of Busan are introduced for the items. A prototype design to express uniqueness and characteristics of fireworks was produced with a line combination among design modeling factors and applied to T-shirt item for comfort use in the marine leisure activity and daily life. T-shirt is one of fashion items for a message communication due to a unique modeling which can be used an excellent advertising item for the culturel identity and image of Busan. Designs were produced with the characteristics of fireworks in which circular shapes of a chrysanthemum, ring, and peony designates as motif 1, 2, 3 as well as linear shape of Niagara, fan shape, and tiger-tail as motif 4, 5, and 6. These designs were located on the front, central chest, and left chest in the T-shirts then analyzed by major students in the course of master and doctor of clothing and textiles with statistical methods. A design with new coloring preferred than the design of a symbolic construction, and circular design on the front and linear design on the left chest were preferred in the results. Prototypes were produced with peony and tiger-tail design which show a high corelation between circular and linear shape, and coloring as well as high purchasing needs. This study results will expect to use for the development of advertising items for the various events of Busan based on the textile design and fashion items with the identity of Busan.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• Archives of design research
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• v.19 no.1 s.63
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• pp.89-98
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• 2006

As the concept of city changes city is viewed in the perspective of business to make profits, not in the perspective of physical space. In the case of Korea urbanization processed over the level of 80% and the formation of identity is suggested for the way to improve city competitiveness as of globalization and liberalization. Seoulentered the level of developed countries in the perspective of functions and facilities, but its image is evaluated poor because of the lack of cultural competitiveness, tourismattractiveness and service system. Dependency of public transportation which is public facilities representing city indirectly is very high, but in information service and visual systems of pubic transportation operations and management are not enough and differentiated image and loyalty are hard to find. In 2004 government of city of Seoul suggested modifications, but compared to London, Paris and Tokyo consistent system, the lack of control and management of use environment of design, excessive visual information and destruction of connection are pointed out. Therefore to solve these problems the introduction of design system is needed to develop identity after applying characteristics and regulations for using to disordered visual stuff. These procedurescan be explained as City Identity Program (CIP) and this study tries to embody city image through public transportation design system. As the study method for this the status of public transportation design system of London, Paris and Tokyo were searched and compared to that of Seoul. Based on this systematization of symbol marks per public transportation being used right now, the development of design guidelines to form identity, relation of design and the strategy of systematization per method and media were proposed.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.114-115
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• 2003

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.88-102
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• 2015

The purpose of this study is to investigate the examples of using illustration as a strategic factor of composing brand cultures and as a factor for brand identity design. Through analyzing the external characteristics and the internal characteristics of illustration, this study will give suggestions on ways to apply the examples to real design. Illustration in external characteristics is investigated as a case of applying it directly to fashion design and to fashion marketing. Most of the fashion items were printed or weaved and most of the bags, shoes, and accessories were printed on the cover, attached as a patch, and expressed three-dimensionally. Illustration in internal characteristics is investigated as fixing and expansion of brand image, improving artistic and emotional value of brand, vitalization of masstige items, and cultural support and expression of social responsibility. The three themes used to develop the illustrations of "Hello ZIBI", which was used in this study, were "Graphic", "Forest" and "Flower", and these were based on modified brand symbol. Casual brands grafted fashion item designs onto T-shirts, bags, hats, and scarves. Marketing items were designed as shopping bags that could reflect brand image, as well as other items, such as key holders, mug cups, and tumblers, with designs that targeted specific age groups.