• The Research Journal of the Costume Culture
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• v.23 no.2
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• pp.310-325
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• 2015

The market for counterfeit luxury fashion goods is proliferating across the globe. In an effort to provide some insight into this phenomenon, this study aimed to identify the antecedents of attitudes toward counterfeits of luxury fashion goods. As antecedents, counterfeit proneness and attitudes toward counterfeiting were considered. It was hypothesized that counterfeit proneness not only influences attitudes toward counterfeits of luxury fashion goods directly but also indirectly through attitudes toward counterfeiting. Data were gathered by surveying university students in Seoul, using convenience sampling. Three hundred five questionnaires were used in the statistical analysis. SPSS was used for exploratory factor analysis, and AMOS was used for confirmatory factor analysis and path analysis. The results showed that all the fit statistics for the variable measures were quite acceptable. In addition, the overall fits of the hypothesized model suggest that the model fits the data well. Factor analysis revealed that counterfeit proneness and attitudes toward counterfeits of luxury fashion goods were uni-dimensional and that attitudes toward counterfeiting were two dimensional, which are 'normatively less susceptible' and 'value conscious'. Test of the hypothesized path showed that counterfeit proneness influences attitudes toward counterfeits of luxury fashion goods indirectly through the two factors of attitudes toward counterfeiting. The results suggest some implications for anti-counterfeit businesses.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.11
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• pp.1498-1506
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• 2005

This study intended to identify the effects of consumer ethnocentrism and fashion leadership on purchasing attitude toward luxury brands. This study also identified differences in consumer ethnocentrism and fashion leadership according to demographic characteristics and the relationship between ethnocentrism and fashion leadership. The data used in this study were gathered through surveying university students living in Seoul using convenient sampling method, and 325 questionnaires were used in t test, F test, and regression analysis. The results showed significant differences in consumer ethnocentrism according to age, clothing expenditure, monthly pocket money and in fashion leadership according to age, major, clothing expenditure, monthly pocket money, and monthly household income. There was no significant relationship between consumer ethnocentrism and fashion leadership. Consumer ethnocentrism negatively influenced the purchasing attitude whereas fashion leadership influenced positively. The results of this study provide insights into young consumers' increasing demands toward luxury brands and suggest some promotional tools that might prove effective.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.231-241
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• 2005

The purpose of this study was to identify the buying intentions for luxury fashion brands. The data used in this study were gathered through surveying university students living in Seoul metropolitan area. The variables included in this study were demographics, which are gender, age, academic major, area of residence, expenditure for apparel, pocket money, and family income, and fashion orientation and consumer needs for uniqueness were included as personal value variables. All demographic variables except academic major and area of residence were significantly related to the buying intentions. Among the fashion orientation factors, fashion intered was significantly related to the buying intentions while fashion leadership and importance of being well-dressed were not. Consumer needs for uniqueness was indirectly related to the buying intentions for luxury brands through fashion interest. The creative choice counterconformity was positively related to fashion interest, whereas the unpopular choice counterconformity was negatively related to it.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.2 s.150
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• pp.221-232
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• 2006

The purposes of this paper were to identity the present condition of the imported fashion luxury brands' market arid to analyze the differences of marketing strategies according to the types of retailers. We selected 3 department stores, 5 luxury brands, 5 stores in Dongdeamun Market, and 5 internet luxury shopping malls, and conducted key informant survey to 20 experts. The brands in department stores consisted the goods according to VIPs' pre-orders, sales of the previous year, and fashion trends, and offered the differentiated customer services to VIPs. The stores in Dongdaemun Market bought the products from the parallel importers or imported the goods from the original nations of the brands by themselves. The goods in stock and steady sellers were comprised of the main portion of all products, and leather goods were dominated. The price of goods in stock was about $30\∼50\%$ lower than the normal price of department stores, but the new products' price was only about 10$\%$ lower than that of department stores. Luxury shopping malls could be classified into two types; one conducted both product buying and commission sale, and the other conducted commission sale only. In former case, however, the product buying portion was under 30$\%$. Product assortments and the price strategy were similar to the stores of Dongdeamun Market, and CRM was conducted partially.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.7
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• pp.1007-1018
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• 2004

Luxury fashion brand business is one of the most successful global businesses in these days. The luxury fashion brands with strong brand power permeates through various regions of the world with high added value and buying power. This study was conducted to determine the dimensions of the luxury fashion brand equity so that the fashion marketers can develop strategies to increase their brand power. ID find out the dimensions of the luxury fashion brand equity, qualitative as well as quantitative research methods were employed. Qualitative research was conducted by interviewing 12 consumers who were loyal to the luxury fashion brands. A total of ten dimensions(uniqueness, sophistication, display, economical and utility value, overall pleasure, satisfaction, reputation, trust respect, social acceptance) were identified as a result of the literature review and the qualitative analysis, and a questionnaire was developed based on them. The questionnaire was administered to 250 subjects and the responses were analyzed by factor analysis to confirm the dimensions empirically. As a result of factor analysis, 7 dimensions of fashion luxury brand equity are ＇chic and pleasure＇, ＇trust＇, ＇distinction＇, ＇reputation＇, ＇economical and utility value＇, ＇social acceptance＇, and ＇status＇. First, ＇reputation＇, ＇economical and utility value＇ and ＇social acceptance＇ are similar to the result of the literature review and the qualitative analysis. Next, ＇Chic and pleasure＇ included ＇overall pleasure＇,＇display＇and＇sophistication＇that were identified previously. We knew that People would expect emotional responses such as display through luxury fashion brand. ＇Trust＇ included ＇trust＇ and ＇satisfaction＇ that were identifed previously. ＇Distinction＇ included ＇uniqueness＇ and ＇respect＇ that were identifed previously. Finally, ＇status＇ included ＇sophistication＇ and ＇reputation＇ It seemed that the concept of ＇sophistication＇ was near symbolic rather than descriptive.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.577-592
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• 2022

This study aims to confirm which factors related to technology acceptance affect generation MZ's use of luxury fashion platforms. For this purpose, Internet self-efficacy and technology readiness were added as new exogenous and moderating variables using extended UTAUT. Then, performance expectancy, effort expectancy, social influence, and facilitating condition as a factor of UTAUT were set as mediating factors. Response data were collected through questionnaires for generation MZ with experience in using luxury fashion platforms, and a factor analysis, reliability analysis, correlation analysis, and path analysis were conducted using the SPSS and AMOS statistical programs. According to the results, the Internet self-efficacy of generation MZ significantly affected on performance expectancy, effort expectancy, social influence, and facilitating conditions on the luxury fashion platform. Moreover, performance expectancy and social influence had a significant effect on the use intention of luxury fashion platforms, but effort expectancy and facilitating condition did not have a significant effect on use intention and use behavior. Additionally, as the moderating effect of technology readiness affects only the relationship between social influence and behavioral intention, it was confirmed that social influence is an important variable with the characteristics of MZ consumers. Therefore, it is deemed necessary to recognize the importance of social influence when trying to use new technologies targeting generation MZ in the fashion industry.

• The Research Journal of the Costume Culture
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• v.9 no.6
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• pp.842-854
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• 2001

The purposes of this study are to find out the factors of consumers attitude toward Fashion luxury products; to identify the effects of demographics to influence on consumer's attitude toward fashion luxury products; to identify the effects of the attitude toward fashion luxury to influence on the concern for fashion luxury. The subjects were Korean 445 women from 20's to 50's living in Seoul. The mean, ANOVA, factor analysis, regression analysis, Duncan test were used for statistics analysis. The results are as follows; Seven factors of the attitude toward fashion luxury products were identified: the involvement for fashion luxury, the duality of fashion luxury, the negative response toward the consumption of fashion luxury, the luxurious aspect of fashion goods, the traditional value of fashion luxury, the rarity of fashion luxury. Among demographics, age and income influenced on fashion luxury products involvement, the quality of luxury products. The perception of good quality and hedonic consumption of luxury good influence highly on the involvement for the luxury products.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.99-112
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• 2016

The purpose of this study is to examine the higher value-added characteristics of tailored jacket designs, which are major items of French luxury brands, in an effort to raise the competitiveness of domestic fashion designs. The characteristics of the jacket designs from the 1940s to the 1970s, the golden age of Haute Couture, were examined. Based on this, the characteristics of the higher value-added expressions of the luxury brands were established by analyzing the tailored jacket designs that appeared in the Paris collection after 2010. The results are as follows: the characteristics were categorized into 'traditional value expression,' 'conceptual value expression,' 'retro value expression,' and 'creative value expression.' Traditional value was expressed as the representation of the styles inherent to the golden age of the Haute Couture houses, and the status of the luxury brands with history was represented by equally arranging the size and characteristics of the elements of the designs related to jacket silhouette. Conceptual value was reestablished as contemporary identity into which the traditional ideology of the houses and the present designers' sentiments were grafted by developing the designs with the theme containing the identity of the past Haute Couture houses. Retro value was utilized as the strategy to differentiate the luxury brands with long history from contemporary products. Creative value was expressed as tailored jackets with new concepts of shape variation and usage conversion by combining creative sentiments with the high quality techniques of Haute Couture and appears to be able to create a new consumption market of luxury brands in the global fashion market.

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.131-145
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• 2011

The purpose of this study is to provide preliminary data on strategies to create a domestic prestige brand based on Korean traditional designs. This study also deals with how to promote this brand around the world. The two points mentioned above will be accomplished by examining the characteristics of the brand '3.1 Phillip Lim' which succeeded in both design and marketing during a short period of time. The method of the study will be followed. Firstly, the basic design and philosophical background of Phillip Lim was investigated, after reviewing the global luxury market and current status of overseas expansion of Korean designers through paper study and antecedent workups. Secondly, for the practical stage, design characteristics and marketing strategies were reviewed with the collections of '3.1 Phillip Lim'. Three factors found in '3.1 Phillip Lim's design success are as follows: First, practical and simple designs using fabrics of high quality. Second, handcraft elements and interesting details that differentiates his design identity. Third, femininity expressed in the feminine silhouette and color. The marketing elements that made '3.1 Phillip Lim' as a successful brand are: First, differentiated positioning as a luxurious contemporary brand. Second, brand promotion through various collaborations. Third, the gradual expansion of women's, men's, kids' apparel to accessory, lingerie and the stable flagship stores. Thus, '3.1 Phillip Lim' has combined modern and classic styles using high quality fabrics and practical designs with unique details. Through it's differentiated marketing strategy targeting New York's market, which prefers popular 'luxury contemporary brand's rather than high-end luxury brands, this brand's creativity and commercial aspects contributed to make '3.1 Phillip Lim' into a luxury brand that represents New York fashion. Korean designers who seek to enter the global fashion industry should consider applying Korean traditional designs on global designs to make favorable products and localize these products according to regional characteristics.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.