• 패션비즈니스
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• 제26권4호
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• pp.64-82
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• 2022

This study aimed to explore fashion technologies for small-scale designer brands and reveal the priorities of the derived fashion technologies. Interviews were conducted with owners of 15 designer brands to explore fashion technologies needed in the field based on the business operation stage (study 1), and an online survey of owners of 61 designer brands was conducted to verify their priorities (study 2). A total of 12 fashion technologies were derived from study 1, including 2 market analysis stages, 6 season planning stages, and 4 product operation stages. In study 2, importance and satisfaction were measured with 12 fashion techniques derived from study 1, and importance-performance analysis (IPA) was performed. The technologies of product management with image tagging and sales channel matching were considered to be the fashion technologies that should be developed first. Second, in the case of maintenance, demand prediction and price determination were applicable. Third, over-effort avoidance was revealed through market analysis and design generation. Finally, in automatic product detail page creation and digital marketing, development was the lowest priority. The results of this study are expected to provide insight into priority areas for fashion technology developers and policy departments providing emerging brand support.

• 한국의류학회지
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• 제45권4호
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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.

• 패션비즈니스
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• 제13권2호
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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.

• 패션비즈니스
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• 제9권5호
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• pp.65-76
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• 2005

The purpose of this research is to investigate the types of name spectrum and their characteristics of domestic fashion brand names focusing on women' wear and bisex wear, and also studied the differences based on the sex of brand target. 224 of women's wear brands and 99 of bisex wear brands were selected from ‘2002 Korea Fashion Yearbook’ under the criterion that their brand names were made in Korea and they should engage in business in 2002. The data analysis quatitatively evaluate the frequency and qualitatively evalute the image of brand product and the meaning of brand name. The result as follows; 1.The domestic fashion brands for women's and bisex wear appeared to have to three types of name spectrum ; the descriptive name was the most frequently used one, then followed by the arbitrary, and the suggestive name. There were only one coined brand name and no generic brand name. 2. The characteristics of descriptive brand name was that, in most cases, it used the name of designer. For the suggestive brand name, it implied the features or the image of its products. For the arbitrary brand name, some bear the ideology or the foundation belief of company itself. 3. For women's wear, the discriptive name appeared most, and followed by arbitrary, and the suggestive name. For bisex wear, the suggestive brand name appeared most, and followed by arbitrary name, and the discriptive name. 4. For descriptive brand name, the names of designer were used most in women's wear brands. Otherwise, the brand names that directly described the image or the characteristics of products were used most in bisex wear brands. For suggestive brand name, soft and feminine images were prevailed in women's wear brand names but comfotable and casual images were dominent in bisexsual brand names. For arbitrary brand name, as the various types of languages were combined and the various meanings and words were mixed, and imply the various meanings in both cases, it was hard to classify the characteristics into some categories.

• 복식문화연구
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• 제26권3호
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• pp.265-281
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• 2018

Government policy supporting the fashion industry in Korea has focused on the future development of rising fashion designer's brands, and as a part of this support, several Fashion Creative Studios are presently operated. The purpose of this study is to identify the meaning of these facilities and suggest development strategies for their effective utilization. This paper presents a conceptual understanding based on a literature review, and deduces the direction of Fashion Creative Studios through an exploratory analysis of various case studies and in-depth interviews with five designers, who have graduated from the Seoul Fashion Creative Studio. The results are as follows. Firstly, fashion educational institutions have to provide sufficient information about the Fashion Creative Studios to students. They can also consider adding short-term residencies to the curriculum in which students prepare collections or portfolios for the studios. Secondly, Fashion Creative Studios are required to intensify business and marketing programs to increase real-world support. It would be helpful to provide 1:1 management programs with several segmented stages for the design brands, or connect them to investors who could provide financial support and business expansion. Thirdly, Fashion Creative Studios need to find a way to strengthen textile differentiation and craft characteristics to increase designer brand competitiveness. Broadening participation with textile designers, connecting with experts and ateliers, and promoting collaboration with artists and artisans in the Arts Creative Studios can be further examined to this end.

• 복식문화연구
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• 제11권2호
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• pp.208-218
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• 2003

The purpose of the study is to identify the designers' and the patterner's pattern making, draping and the use of dress form in domestic companies of designer's brand to present basic information for effective pattern works. It turned out that the designer brand companies at home use flat pattern and draping at the same time rather than draping only The effects of the use of draping lies in unique designs and elastic materials, which seems proper phenomena for the current design trend such as high duality and diversification. But, draping has such problems that the pattern takes long time to be finished and that the staffs don't acquire well the needed skills due to the lack of draping education. To secure the high added value of fashion, it is required to develop education programs for new skills and to apply draping actively. Also, it requires an educational system in which practice oriented skills are cultivated, and efficient investment into apparel business.

• 복식
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• 제64권4호
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• pp.52-75
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• 2014

The purpose of this research is to classify the historical features of mid-to-late twentieth century Korean fashion with a focus on 'Nora Noh', who is a first generation Korean fashion designer. The specific questions of this research are as follows: how did mid-to-late twentieth century Korean fashion and the Nora Noh brand develop and what is the relationship between the two? What are the important features of Korean women's fashion design in the mid-to-late twentieth century? What are the characteristics exhibited in each decade in Korean women's fashion and Nora Noh's fashion? This paper conducted the research by focusing on the Korean fashion development as a background of simplification in the way of dressing and specific historical incident. Researchers deployed a qualitative research method providing a systematic review of the previous studies by analyzing content as well as eleven oral statement interviews and the case study of Nora Noh. The result shows that Nora Noh is one of the first generation of Korean fashion designers who led fashion trend and system in Korea. The designer also influenced Korean commercial fashion in the 1970s and American fashion trends in the 1980s.

• 한국의류산업학회지
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• 제10권3호
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• pp.353-363
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• 2008

The Purpose of the study was to examine the formative characteristics of silver fashion design by analyzing the silhouettes, colors, patterns, textures, and details in the brands for silver generation in Korea. Photographs of silver generation women's brands were collected to be analyzed with a focus on formative characteristics using SPSS packages. The result revealed the common formative characteristics of madam-brands and designer boutique brands-they both use semi-fitted silhouette with lighter colors for upper garment, and darker shades for lower garment. When it come to textile, upper garment was mainly made with hard and soft textile. In patterns, plain, flower print, and asymmetrical patterns were used for upper garment, and plain patterns for lower garment. Despite the gap in price, there were few differences in madam-brands and designer boutique brands with partial differences in the kinds of patterns, the proportion of patterns, the details such as zip-ups and buttons, beads, laces, and ruffles, and the use of different textiles for each brand. In conclusion, it is important to develop design that helps cover the body shapes of silver generation customers while highlighting the unique design of each brand for the development of the silver fashion.

• 한국의류학회지
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• 제36권9호
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

• The Journal of Asian Finance, Economics and Business
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• 제7권2호
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• pp.195-204
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• 2020

Customer loyalty is a desired and essential result for companies in a business environment with a lot of competition, of which the fashion industry is no exception. For the fashion industry, the competition between businesses is increasingly fierce with the appearance of tailored fashion brands for each customer, also known as a designed fashion brand. The objective of this study is to examine the relationship between the antecedents of the relationship (reputation of designer, social media marketing) and customer relationship (trust and intimacy), and loyalty of customer for a designed fashion brand. The mixed research method is used to achieve research objectives with qualitative and quantitative research method. Qualitative data was collected through in-depth interview with 12 participants in Ho Chi Minh City, while quantitative data was collected by a survey of 799 respondents in Ho Chi Minh City and Hanoi City. The results show that the antecedents of relationship marketing positively affect on customer relationship and customer loyalty. Moreover, customer relationship has a positive impact on the customer loyalty when shopping for fashion products. From the research results, some managerial implications are also proposed for the designed fashion brands to improve the relationship marketing performance.