• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.5
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• pp.900-915
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• 2024

While fashion serves as a symbol representing aesthetic discourse. New, multilateral approaches at fashion films deliver creative images and messages through fashion. This study aims to explore expressionistic visual aesthetics and narratives found in fashion films as meaningful content of new media's changing fashion communication strategies, focusing on Gentle Monster. We can better understand the unique purpose of fashion films by analyzing their aesthetic strategies for conveying branding message. The case studies included six episodes of campaign fashion films posted on Gentle Monster's official YouTube channel from 2015 to 2018. The fashion films of Gentle Monster consistently deliver the brand's creative imagination reflecting expressionistic visual aesthetics and unconscious desires, such as conveying intense emotions with extreme juxtaposition, visual development of strange and distorted narratives, and novel compositions of technical and surreal imagery. Gentle Monster's films establish resolute brand identity by presenting ideal aesthetics that break away from conventional aesthetics and traditional concepts of beauty.

• Korean Institute of Interior Design Journal
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• v.26 no.5
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• pp.152-160
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• 2017

The purpose of this study is to propose a space design plan for brand experience that can enhance consumer satisfaction and brand awareness by conducting a survey on the consumer satisfaction with space expression methods in an eyewear flagship store. Through theoretical review, brand experience was defined as the 'process and outcome of experiences caused by stimulations associated with the brand in a series of processes. After reviewing previous studies, 5 elements of brand experience such as the sensory, emotional, behavioral, cognitive and relational experiences were extracted. Upon deriving a checklist through these elements, a survey was conducted. The analysis of the survey showed that the process composed of cognitive experiences that promoted to remember the brand was intensively expressed in spaces. Thus, the results of this study are as follows. First, the process composed of cognitive experience should be applied with a higher priority to increase brand awareness, and such a process accompanied by the behavioral and sensory experiences. Second, beyond a simple visual experience, various senses such as olfactory and auditory senses should be stimulated, and behavioral experience provided as an experience factor. Third, brand image and sales spaces should be composed under a single theme with a connectivity. Fourth, in external spaces, the curiosity of consumers should be stimulated with a theme matching the brand image. Fifth, it was found that the visitor satisfaction was higher when formative elements consisted of not only static but also dynamic features. Sixth, among the elements of brand experience, emotional experience should be improved to complete the 'process and outcome of experiences'. It is considered that further studies are needed, which expand the cases of eyewear flagship stores not only in Korea but also overseas, and propose more specific plans and design strategies through in-depth interview methods in the future.

• Science of Emotion and Sensibility
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• v.26 no.2
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• pp.53-66
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• 2023

In recent times, more fashion brands have been seeking ways to use metaverse platforms, in which users can actively participate, as their new brand touch-points. This study aims to compare the brand experiences of the fashion brand Gentle Monster's offline store and its equivalent metaverse store. By changing the order of offline and metaverse visits, two groups participated in the field study that allowed them to experience directly the offline and metaverse stores. As a result of the analysis, the following findings were discovered: (1) In the overall experiential response, the frequency of sensory modules responding to new information was much higher than that of feeling experiences; (2) Experiential responses were more active in the offline store where the subjects could touch and use products directly rather than in the metaverse; (3) Among the four types of theme space, the experiential response was the most frequent in the product space; (4) The first group that visited the metaverse store before the offline store showed a more active experience than the second group that visited the offline store first. Finally, the results of this study show that metaverse brand stores in virtual space not only provide differentiated experiences beyond the spatiotemporal constraints of real space but can also be used as a strategic tool to make offline store experiences more meaningful and rich.