• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.12
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• pp.1466-1476
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• 2011

This study explores if consumer perceptions about genuine luxury fashion merchandise are affected by the presence of counterfeits. A total of 504 consumers participated in an online survey. First, respondents were asked to indicate whether or not they agreed that counterfeits negatively affect genuine luxury fashion brands and to provide reasons for their responses. Approximately 57% replied that counterfeit goods negatively affect the image of genuine luxury fashion brand goods. The main reason mentioned was that counterfeit products damage the producer/copyright holder of genuine products, as well as the national economy; they believed that it damaged the genuine luxury brands' image due to the luxury goods becoming less rare; however, 43% of respondents stated that counterfeits did not negatively affect genuine luxury fashion brands. Thus, counterfeit availability reflects that a brand is renowned and popular in a market where consumers can recognize genuine luxury fashion products from counterfeits. Second, the respondents were asked about specific luxury fashion brands and indicated that seeing counterfeits did not negatively affect genuine luxury fashion brands' value, brand reputation or satisfaction of ownership. The majority of respondents disagreed that the availability of counterfeits negatively affects the value, reputation and satisfaction of owning original luxury brands.

• International Journal of Human Ecology
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• v.9 no.2
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• pp.45-54
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• 2008

This study examines the influence of acculturation level and ethnic groups as a fashion reference group on Korean-American consumer attitude toward luxury fashion brands. Of interest is the role of Korean culture, which emphasizes luxury brand consumption due to the Confucion value of 'face', on Korean-American attitudes toward luxury brands. Data were collected from 108 young Korean-Americans living in the Pacific Northwest of the United States. Descriptive statistics, factor analysis, and multiple regressions were conducted for the analysis. In general, the respondents had relatively negative attitudes toward luxury fashion brands. Even though the acculturation level did not have a significant influence, attitudes toward luxury fashion brands were influenced by Korean reference groups. Age at immigration did not have a significant relationship with attitudes toward luxury brands. Korean-Americans who maintain ties with Korean culture are more likely to have a positive attitude towards luxury fashion, regardless of familarity with American culture.

• Fashion & Textile Research Journal
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• v.20 no.2
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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.

• Journal of Fashion Business
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• v.13 no.2
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• pp.1-16
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• 2009

The purpose of this study was to analyze the signification system between logo and brand image systematically in imported fashion luxury brands through semiotic approach. For this purpose, 29 luxury brands were selected from 3 department stores. According to the visual characters of logo, the types of logo used in the imported fashion luxury brands were classified into three types and the results of this study were following : First, the luxury brands used the brand logo in common that represent the name of founder or fashion designer to deliver the character of company's own brand and to emphasize the spirit of a craftsman. Second, the luxury brands also used the brand logo that design the brand initial in symmetry of the right and left or top and bottom to emphasize a unique spirit of the brand. Third, the luxury brands used the brand logo that represent or symbolize a specific animal or object to express the special quality of the brand in descriptive type. Forth, the luxury brands used the most frequently black color in brand logo that symbolize a perfection, immortality and solemnity, etc.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.4
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.604-615
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• 2012

Despite the increasing recognition of the value of emotions and younger consumers in luxury market segments, little research has focused on the role consumer characteristics and emotions play in younger consumers' commitment to luxury brands. Drawing on the identity-motivation model and the idea of self-construal, this study identifies the contributing factors of younger consumers' commitment to luxury fashion brands. Specifically, this study examines the role of consumer characteristics (i.e., self-construal), the self-expressiveness of brands, and emotional factors (i.e., brand love and brand attachment) in developing consumer-brand relationships. The proposed model was tested with college students in the U.S., which supplied a representative group of younger consumers of luxury fashion brands. The data were collected using web-based surveys and analyzed using structural equation modeling method. The results showed that consumers who were characterized with interdependent self-construal had positive perceptions of self-expressive luxury fashion brands. Furthermore, the perception of self-expressive brands promotes the consumers' brand love of and brand attachmentto luxury fashion brands. Also, while both improved brand commitment, brand attachment had a greater impact on brand commitment than brand love. This study contributes to the literature by identifying driving forces of younger consumers' brand commitment. It also provides managerial implications for luxury fashion brands.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.87-102
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• 2021

The purpose of this study is to consider effective digital marketing strategies through analysis of luxury fashion brands. This study conducted both quantitative analysis and case studies of the brands Louis Vuitton, Gucci, Burberry, and Chanel. To measure the brand image of the luxury fashion brands, the survey was distributed to Millennials, and total of 277 responses were used for the final analysis by using SPSS 25.0 statistical program. Other than survey, this paper analyzed digital marketing strategies of luxury fashion brands through brand-related papers, website and social media of each brand, Samsung Designnet's database, and news posted on search engines. The results of this study are as follows: First, according to the result of examining brand image of luxury fashion brands, there was no significant difference between brands, except Gucci. Second, this study analyzed each luxury fashion brand to understand the characteristics of digital marketing, and common characteristics were identified. Third, by analyzing the brand image and digital marketing strategies of luxury fashion brands, it was confirmed that Gucci's brand image and digital marketing strategies were consistent, while there was a difference between Burberry's brand image and digital marketing strategy. Therefore, this article proposes the following digital marketing strategies that are suitable for luxury fashion brands. First, is the connection of on/offline channels. Second, is the use of AI technology. Third, is a blockchain-based platform.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.3
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• pp.546-558
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• 2021

As consumers' demand for corporate social responsibility (CSR) has increased, luxury fashion brands have been providing support for arts and culture as CSR activities. The purpose of this study is to examine patronage of arts and culture as corporate philanthropy and to analyze the motives luxury fashion brands have for supporting arts and culture. The study investigates patronage of arts and culture through literature reviews and conducts case studies of luxury fashion brands' patronage. The results of the analysis are as follows: first, patronage based on public interest reduces the social costs of arts and culture and helps to create aesthetic experiences for the public; second, sustainable patronage is not only priceless PR for luxury fashion brands, it also supports the development of arts and culture; third, authentic patronage obviates the criticism that luxury fashion brands only support arts and culture for the purposes of profit, by separating business operations from patronage. In conclusion, those three elements are at the heart of patronage for the arts and culture and fashion companies need to support culture and the arts by taking a long-term perspective when it comes to creating social value.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.49-61
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• 2012

The purposes of this study were study intended to investigate effects of conspicuous consumption, sales promotions and images of the country of manufacture on Chinese consumers' purchasing attitudes to fashion luxury brands. The study was conducted by experimental conspicuous consumption(2)X[types of sales promotions(2) X images of the country of manufacture(2)] design by combining the 3 variables mentioned above. 312 women living in Chengdu were collected for this study. For data analysis, factor analysis, T-test, frequency analysis and ANOVA were used. The results were as follows: First, Chinese consumers' favor to fashion luxury brands: 2-way interactions, in sales promotions and images of the country of manufacture, was found for favor to fashion luxury brands. Second, Chinese consumers' purchase intent to fashion luxury brands: only the main-effects of conspicuous consumption and images of the country of manufacture was meaningfully positive. It demonstrates that only conspicuous consumption and images of the country of manufacture effected Chinese consumers' purchase intent to fashion luxury brands.

• Journal of Distribution Science
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• v.12 no.12
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• pp.107-118
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• 2014

Purpose - Due to the recent slowdown of growth in global luxury brands, which have been an engine of our domestic fashion market growth, there is an increasing need to develop a global market for domestic high-priced fashion brands. In spite of the large scale of trade between Korea and China with respect to fashion products, current trade concentrates on middle- and low-priced products rather than high-priced products. Diversification of the trade between Korea and China in terms of the price levels of trade products is needed. An understanding of Chinese consumption values and purchase intentions for luxury fashion brands will be very helpful for the establishment of strategies with the aim of increasing the level of trade with regard to high-priced fashion products. Therefore, the study aimed to identify the differences in the clothing consumption values of South Korean and Chinese women in their 20s, especially with reference to how those values affect their preference and purchase intention for luxury fashion brands. Research design, data, methodology - The study was implemented through a descriptive survey method using a self-administered questionnaire. The sample consisted of 283 Korean and 306 Chinese women in their 20s, residing in Seoul, Beijing, Guangzhou, and Shanghai. Data were collected from March 3 to 15, 2014. A total of 589 completed responses were analyzed. Data were analyzed by factor analysis, t-test, and multiple regression analysis. Results - Fivefactors for clothing consumption values were formulated: conspicuous/social value, fashionability value, personality expression value, hedonic value, and practical value. There were significant differences between Korean and Chinese consumers in clothing consumption values (except social value), preference, and purchase intention for luxury fashion brands. With regard to clothing consumption values, Chinese women attached more importance to fashionability value, personality expression value, hedonic value, and practical value than South Korean women. In addition, Chinese women's preference and purchase intention for luxury fashion brands were higher than South Korean women's. Second, in the case of South Korean women, social value, practical value, and fashionability value had positive effects on preferences for luxury fashion brands, while attractive/personality expression value and hedonic value had no influence. In contrast, in the case of Chinese women, social value and fashionability value had positive effects on preference for the luxury fashion brands. Third, in the case of South Korean women, social value and practical value had positive effects on purchase intentions for luxury fashion brands. In contrast, in the case of Chinese women, social value, personality expression value, and fashionability value had positive effects on purchase intention for luxury fashion brands. Conclusions - Considering the findings of the study, it is clear that differentiated marketing strategies are needed for luxury fashion brand markets in Korea and China. The results of the study could provide useful information that will help increase the effectiveness of luxury fashion brand marketing strategies in Korea and China.