• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• Journal of Fashion Business
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• v.25 no.3
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• pp.90-107
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• 2021

This study concludes that communication based on interaction between broadcasting hosts and consumers is differently characterized by fashion live commerce types. Subcategories of the types of fashion live commerce were created and used in the analyses of domestic consumer awareness. Three subcategories were created: The department store type, Designer brand type, and Influencer host type. Comments representing consumers' awareness that appear immediately during real-time broadcasting were collected and used for the analyses. The frequency and TF-IDF-based top keywords were selected to analyze the semantic network and CONCOR, and the top keywords were analyzed by deriving the values of degree of centrality. The analysis identified that a group of product attributes and a group of live commerce offered value were common between the three types. As for the group characteristics classified by type, for the department store types, brand attributes, benefits, and values from pursuing the products were identified. For designer brand types, a group of viewers' responses and inquiries were identified. It is interpreted that the satisfaction value gained from hosts with product expertise has been clustered. Influencer host types have affirmed a group of external product values. A close relationship is formed and it is thought to have led a group of values to trust the external image of the product. This study carries significance in analyzing real-time comment data from consumers using fashion live commerce to empirically reveal the characteristics of each type.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.101-113
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• 2016

This study was conducted in order to analyze draping and flat pattern according to jacket design, and provide basic materials for developing a jacket pattern that can enhance fitness, functionality, and aesthetic expression of clothes by reflecting esthetic expression of draping and efficiency of flat pattern at the same time. For the experimental jacket designs of a one-piece sleeve jacket and a two-piece sleeve jacket were selected among the entries of the designer Rubina for 2014 F/W Seoul Fashion Week. Designer brand Rubina usually produced clothes using draping and the designer brand company provided the experimental patterns for the study. We also had flat patterns of the same design and size specifications designed by a flat patternmaker who has 30 year-experience in flat pattern like Rubina. The test apparel jacket was made of 20's cotton yarns. Three models wore the jackets and evaluation on appearance fitness was conducted by 7 members in an expert panel group from August 10, 2015 to September 10, 2015. As a result of appearance fitness analysis on one-piece sleeve jacket, there were significant difference in 4 items among 17 items in terms of overall appearance. The appearance of jackets by draping had higher score than those using flat pattern. As for two-piece sleeve jacket, there were significant differences in 7 items among 17 items related to overall appearance. As for the items related to sleeve, 5 items out of 13 showed significant differences. Except for one item, appearance of jackets using draping had higher score than flat pattern. As for motion fitness, draping was evaluated to be more comfortable. Applying the items with high scores in appearance and motion fitness in draping to flat pattern, The study suggests a new jacket pattern development that would increase the satisfaction of consumers for future research.

• Journal of Fashion Business
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• v.20 no.6
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• pp.111-134
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• 2016

A luxury brand bag is a medium to symbolize brand identity and plays a role in enhancing brand value. A typical example is a designer signature bag such as Hermes Kelly Bag, Birkin Bag, and Lady Dior Bag. The purpose of this study is to analyze the design changes and acceptance of identity of luxury brand bags and examine the design characteristics that succeed to the value of a luxury brand bag. The subjects of the study focused on Louis Vuitton, Gucci, and Chanel bags. Photos were collected from www.vogue.co. uk. based on the fashion collections from S/S 2007 to S/S 2016. The study methodology was to analyze the kinds, shapes, colors, materials, and the ornament of subject bags based on previous studies. The results of the study were summarized as follows. For the identity and design changes of each brand, Chanel has tried to combine functionality pursued in the past with constantly changing femininity by making bags in fantastic moods using various materials and free shapes. Gucci has constantly used Ornament elements holding the brand identity of classic bags and trend colors to keep tradition. Louis Vuitton holds fast to its functional shape to protect brand identity through design philosophy that started with a travel luggage and attempts to express modern emotion through Ornament changes. This study confirmed that luxury brands have accepted their unique design characteristics holding brand identity to improve their brand value and attempted to change constructive elements in many different ways for modern reinterpretation.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.1
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• pp.170-181
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• 1999

The aim of this paper was to look at the distribution intensity for the women's formal wear industry. Most of the previous works on the distribution design have stressed product characteristics and consumer's shopping behaviours. The firm especially in women's aopparel industry recently has had difficulty in how to decide and to select the distribution numbers in the domestic market. Thus five hypothesis were set based on the data in '98Korea Fashion Guide describing the brand of women's wear in detail. It has been published by Korea Fashion Association in 1997. The variables of this study were the price the total sale the launching period the target customer's age and brand origins related with domestic or foreign. 579 brands had been analyzed with percentage anova duncan's test pearson's correlation and t-test. the results were as follows: In general the higher the price of the product is the less intensive the distribution of the women's apparel industry is. The higher the total sale is and the younger the target customer's age is the more intensive the distribution of the women's apparel industry is Besides there is difference between the domestic brand and the foreign brand in the distribution intensity. There is no relationship between the launching period of the brand and the distribution intensity. In addition four brand types were classified into the national brand the designer brand the licensed brand and the imported brand. Satatistically variables have shown different relations in terms of each brand type.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.2
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• pp.239-249
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• 2003

The purpose of this research was to investigate influential factors for shopmaster's CRM (Customer Relationship Management) in the designer brand products, and to indicate the future fashion marketing strategies. The questionnaires were distributed to 74 shopmasters of the Designer shop in domestic L. S and H Department stores. Descriptive statistics, factor analysis, and path analysis from Lisrel program were used to analyze the data. The results were as follows; Firstly. for shopmaster's CRM variables, four factors of customer management variables were found and labeled as interest, DB construction, contact opportunity, and materials. Also, four (actors of shopmaster's knowledge regarding apparel materials were found and labeled as professionalism, manner, sense, and persuasion. For service variables, four factors such as precision, variety, rapidity, positiveness, and convenience of shopping were found. Secondly, for the results of hypothesis, all of the independent variables had direct influences on forming the relationship with customers. Therefore, it is concluded that the main elements of Shopmaster's CRM are highly important variables in customer relationship marketing strategy.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.91-103
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• 2015

This study examined the image identity of the Celine fashion house, which went through a successful re-branding using its tradition and succession, a process that was heavily influenced by their new designer, Phoebe Philo. The purpose of this study is as follows: first, to encourage the use of the fashion house in a domestic fashion market. Second, to increase awareness about image identity. Third, to provide suggestions of maintaining sustainable brand by examining a fashion house, which does not follow fast-changing fashion trends but rather leads and creates fashion styles. The study extracted the characteristics of the Celine fashion house by analyzing data, which were collected from fashion literature, its designs, and its marketing. From the data, the study found ways that a brand could use to develop continually. Phoebe Philo re-branded the Celine by using minimalism to redesign its logo and create a new brand image. Her method included the use of diverse and vivid colors via color-blocking, a feature of modern minimalism. This is a modern minimalism, which differentiates itself from others with the elaborate tailoring and delicate detailing effectively. The modern minimalism like this has, caused the new mood beyond the flow of certain art trends and led the revolution, not the advent, of the minimalism in the 1990s. This study believes that the aspect of the fashion-house following and succeeding the tradition is not just in the fashion house. This study should be seen as a significant step forward at a time when we desperately need the continuation of the unique brand recognized as fashion house in the long-term domestically.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.1-14
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• 2017

The consumption trend of fashion in modern industrial society is developing from the rapid changes, and the lifespan of fashion products becomes shorter due to the various industrial wastes. Due to the attitude change caused by the ethical consumption consciousness and environment awareness, the up-cycle fashion products got to receive attention, and it is in the limelight as a new trend to realize the sustainable fashion products in the domestic and foreign fashion. The purpose of this study lies in drawing the expression characteristics by investigating and analyzing the cases of each type on the fashion bag products of up-cycle brand, and contributing to the diversification of product family fitting to the characteristics of fashion bag product of up-cycle brand, systematic strategies of up-cycle fashion products, and activation of up-cycle fashion market. In research methods, the theatrical researches were conducted centered the relevant domestic literature materials, preceding papers, etc., which ran paralleled with the actual case analysis study. Through the preceding research and websites related to selected products, websites of up-cycle companies, relevant books, related articles, etc., the expression characteristics of up-cycle fashion bag products were drawn. The results of this study are as follows: First, as it has the feature of historicality, the designs can be created by containing the designer's story, story of materials, and consumer's story. Second, since it has the characteristic of sustainability, the application of manufacturing process and materials, extension of product life, conversion of original material's function, etc. can be sustainable. Third, as it's a trait of scarcity, all products may be produced by hand, and it can have the specialty which the original materials have. Fourth, since it has an eco-friendly trait, even while saving the original materials, the aesthetic needs could be met according to the consumers' continuous demand.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.691-708
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• 2009

The purpose of this study was to find the methodology of design plan that could raise the brand power by looking around the driving force of the design innovation through the case study of Louis Vuitton which has been evaluated to be successful in brand revolution by designer Marc Jacobs. Research methods were theoretical studies looking for various analysis and valuations about Louis Vuitton's design innovation and analysis about articles in International Herald Tribune and New York Times. Driving force of Louis Vuitton's design innovation could be summarized as designer's creativity and full supports for designers, establishment of BI by strategic cooperation between design and marketing parts, active design plans by collaboration with modern artists, existence of Logo as a symbol of brand, business mind pursuing adventures and dreams, and directors' artistic sensitivity and supports for culture and art.