• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.232-249
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• 2022

As the postsecondary school-age population continues to decline, the competition among universities to attract potential students has intensified. As an alternative, we propose to introduce a collaborative marketing strategy to universities to gain the attention of precollege students and parents. This study examines perceived fit, the prestige of university and fashion brands, consumption values, and the category of fashion brands in the context of collaboration between university identity and fashion brands. Utilizing an online survey, we collected 391 responses. The results indicate that perceived fit between universities and fashion brands has a significant impact on the purchase intention of collaborative university merchandise. In addition, the prestige of fashion brands plays a key role, while the prestige of universities has no direct effect on purchase intention. However, the indirect effect of university prestige on purchase intention mediated by perceived fit is significant. Also, this study confirms that social value and emotional value have significant impacts on purchase intention. These findings present a guideline for selecting a collaborative partner, which is the most important task in a collaboration strategy. Finally, merchandising strategies reflected consumption values based on precollege students and their parents' needs are proposed.

• Journal of the Korea Convergence Society
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• v.11 no.1
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• pp.109-117
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• 2020

This study aims to analyze typographic expressions used in recent fashion trends from the perspective of conceptual art and thus identify a variety of meanings. Towards this end, theoretical considerations were made vis-à-vis the main concepts of research, such as typography and conceptual art, and the ready-made, documentation, intervention and language, which are the expressive features of conceptual art, were applied to fashion typography as analytical frameworks. The results are as follows. The ready-made appears in a way that borrows or transforms the visual identity of other brands, and documentation is utilized in a way that lays tautological or contradictory texts together. Intervention arises, while leading to more complex layers of meaning when borrowing the visual identity of the brand, which is conceptually irrelevant. The language is expressed as statements about contemporary social issues, such as environmental protection, ethical consumption and gender problems. Based on the findings of this study, it can be confirmed that in fashion design, typography serves as an effective marketing tool and a medium of social statements. Moreover, it can expand into the possibility of generating new meanings as a novel way of visual expression.

• 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 Fashion Business
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• v.19 no.2
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• pp.103-117
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• 2015

The purpose of this study was to examine the uniform image of Korean herbal cosmetic brands amongst Korean and Chinese consumers. This study would enable us to explore a BI strategy to enhance international competitiveness of Korean herbal cosmetics brands. The results were as follows. The key words of BI pursued by Sulwhasoo were dignified, novel, graceful, soft, gaily, natural, Korean, modern, and international. Korean people felt that the uniform was graceful and soft, which accorded with Sulwhasoo BI, but also it was trite and dingy, indicating a negative and opposing image. On the other hand, Chinese people felt that the uniform was dignified, novel, graceful, natural, modern, and international, indicating that it matched with Sulwhasoo BI. In The History of Whoo, the key words of BI pursued by the brand were precious, soft, gorgeous, gaily, and natural. The Koreans felt that the uniform was intelligent, and decent, but conversely, it was also austere and dingy, indicating a negative image. The Chinese felt that the uniform was common, hard, austere, dingy, and unnatural, indicating an opposing image to BI. Finally, a uniform design was developed to improve on its problems, establish The History of Whoo's brand identity, and its brand image. First of all, 'The Quintessence : noble passion' was set up as a developmental concept. The textiles, clothing, and accessories were designed using the symbolic elements from The History of Whoo as a motif. Uniforms were developed for spring, fall, and summer.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.

• Korea Science and Art Forum
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• v.23
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• pp.95-109
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• 2016

The background and objective of this study are as follows. Gwangheemun, one of the 4 small gates of Seoul Castle is a space to represent ordinary people and it is a valuable cultural heritage that shows the process of technical transition of fortification technology during Chosun Dynasty. It is a place that we can expect to play a role as a field where history and culture mix and communicate together. But currently, the environment and facilities around Gwangheemun have fallen behind and become old, so they need to be reorganized as their local feature is not shown distinctly. We need to vitalize the new traditional space that shows local feature. This study has drawn out the method, contents and the result of study like as follows. This study aims to establish an identity based on the historical and cultural backgrounds and suggest the contents to vitalize the space of Gwangheemun as a traditional cultural heritage. By this, this study aims to create a historical and cultural space where people can enjoy, eat and look around. Therefore, based on the historical and cultural feature, it gives an identity as moonlight street, and it has developed and suggested 5 contents to vitalize space: Gwangheemun maintenance, plan, castle restoration plan, village inside the castle, village outside the castle and fashion art street. Contents to vitalize space has a meaning as a specific developmen method of urban restoration, and we can expect to be used as a direction to develop the area to enhance the cultural quality of life of both inhabitants and visitors by forming the brand identity of surrounding area with traditional cultural heritage.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.35-50
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• 2016

As the fashion industry increasingly fierce competition in the market we are elements of product quality can only be differentiated through a difficult period. Because academia and strengthen brand image and measures proposed business, a way to strengthen advertising and promotional marketing. However, this action reminds consumers that have a direct feel of the experience with the product is very easy to see, but counterproductive when advertising and contradictions. Korean fashion brand has sufficient capacity in this part of the judgment, because reason can not spread to the global luxury fashion brand. This study analyzed who help give identity to the domestic fashion luxury brand global strategy angry, it is part of the goal of the current development and product strategy features. Export capabilities, improve product identification components for their product development strategy has been carried out case studies and the recommendations based on this identity-based international luxury fashion brand analysis. The concept of product identification is not strong, the lack of previous studies of this study also adopted the international luxury fashion brand case studies, based on the country. The importance of product identification and product identification research methods derived from the characteristic side also granular component. Then there is the need to achieve national identity customized product development strategy for domestic enterprises to further expand the practice target. This will help enhance the competitiveness of the domestic apparel design.

• Archives of design research
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• v.18 no.4 s.62
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• pp.129-138
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• 2005

Until the early part of the 1990s, interior design has never been thought important by car makers. Repeated attempts have been made to systemize a technical structure, such as layout, driving method, and size, and the car's interior design has been developed by in simple comparison with the exterior design. In the 1990s, however, this trend began to change because consumers began spending more time in their cars, so the motive of the technology development became that of giving comfort and functional satisfaction to the customers. Observing how a person spends inside his or her car and considering the latest trends in car interiors have made a consumer-oriented sense of value i.e., intensifying the personality of the car's interior design and considering the emotional makeup of the consumer factor in the acquisition of a strategic brand identity. These days, car interiors assume a new concept every year due to the constant change in various factors, and the application of a high-tech design, with a sensing function and a navigation system, to achieve driverless running, is being raised as a key trend element technology for the future. Now, at the present when multilateral concept applications of design are attempted under the direct influences from other fields such as product design, fashion and furniture, I would like to lay stress on investigating and analysing the changes in car interior design varying with the background of the times and formative characteristics from the object point of view. On this study, I would like to compare the background of the times and flow of car interior design with priority given to crash pad and would like to attempt to present the direction of the future car interior design together with diversifying major technical factors.