• Journal of Fashion Business
• /
• v.28 no.1
• /
• pp.68-82
• /
• 2024

The fashion industry has been placing great importance on establishing and communicating brand identity in response to the rapidly changing landscape of consumer preference and media development. This study aimed to explore effective communication methodologies for building a strong brand identity for domestic designer fashion brands. To achieve this, trends in the domestic fashion industry were categorized, and key words were derived to develop three new communication methodologies through an analysis of 10 domestic brand cases. This study confirmed that a strategy that focuses on forming emotional relationships with consumers is essential for establishing brand identity. To this end, the proposed communication methodologies include the following: First, delivering sustainable messages through emotional storytelling, which is a key approach for building emotional bonds with consumers. Second, expanding the brand experience to elicit positive responses from consumers by immersing them in special situations to experience brand identity. Third, brands can enhance consumer brand loyalty by fostering continuous relationships with consumers and cultivating brand culture through omnichannel strategies that encompass both offline and online channels. Consequently, this study presents practical strategies for various fashion brands along with theoretical contributions to domestic fashion brand startups and brand identity construction. With these strategies, it is anticipated that brands will establish clear and specific content and build a stronger brand identity by engaging in diverse communication methods that offer consumers sustainable values and brand experiences.

• Fashion & Textile Research Journal
• /
• v.21 no.4
• /
• pp.401-411
• /
• 2019

Non-contact judgment and evaluation for products are increasingly needed along with a rapid environmental change in fashion that sows urgency in the need to implement services that allows users to judge and experience a tactile sense in a fashion product without actual contact. Technological development is required to provide users with syn-aesthetic experiences that integrate the visual, tactile and the auditory. There is also a need to conduct research to increase immersion that provides users with ICT-related experiences communicated through fashion images. The study analyzed demands for haptic communication technology by Korean users in immersive VR fashion product shopping. Accordingly, it defined haptic communication through literature research, investigated immersion in the VR environment and conducted in-depth interviews for haptic communication applicable to VR shopping. Findings show that hedonic reactions by fantasy, emotion and fun function are an important motive in selecting VR shopping. VR fashion product shopping steps were divided into 4: move to store, search in store, search of product and purchase based on offline store shopping experience. It defined the haptic communication by steps and analyzed the types of the haptic feedback to be implemented. The study results provide basic data for developing haptic communication technology that can enhance e a sense of the presence and immersion experiences that can help lay a groundwork for pilot studies on the convergence of the virtual and the real.

• Fashion & Textile Research Journal
• /
• v.25 no.4
• /
• pp.429-438
• /
• 2023

In the 21st century fashion industry, the rise of digital environments has transformed it into a dynamic medium, expanding the horizons of media utilization. Consequently, digital fashion film has emerged as a pivotal tool for fashion communication. Functioning as a visual expression medium, fashion film animates fashion concepts into immersive moving images. Proficiency in digital fashion communication has become imperative, considering the attributes of fashion media. Notably, the role of creative directors in ensuring coherent communication across diverse fashion media platforms has gained prominence, underscoring the need for systematic fashion education to nurture specialized talent. This study, therefore, devised a comprehensive curriculum amalgamating fashion communication and practical digital media skills, implemented within fashion major courses. Through this approach, students gained experimental media proficiency and explored innovative approaches to crafting fashion films that eloquently convey fashion narratives. The participants were exposed to the entire spectrum of fashion media production, encompassing digital storytelling, fashion film conceptualization, filming techniques, meticulous editing, and adept utilization of special effects technology. The study's pedagogical strategy, characterized by a focused learning trajectory, garnered significant acclaim. In essence, this study holds significance by formulating a curriculum that nurtures the imaginative and pragmatic aptitudes of fashion majors, immersing them in the dynamic realm of rapidly evolving digital fashion films and their integration with fashion content.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.2
• /
• pp.315-329
• /
• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• The Research Journal of the Costume Culture
• /
• v.21 no.6
• /
• pp.793-809
• /
• 2013

This study examined the trend and aesthetic value of image fashion of the 21st century through empirical case study with image media as fashion communication tool. This research is intended to provide the basic material for both better comprehension of image fashion as emotional medium in the modern fashion and more activated research on interactivity and communication in the fashion communication area by examining how fashion designers deliver their design philosophy, thought and vision via image fashion. For the research method, the theoretical study was realized about image media and fashion communication with focus on related literature and precedent research. Also, the empirical study was performed about image fashion covering 2005 through 2012 by the group of fashion film, fashion animation, and video look-book. Fashion image in the research was developed into various layouts that include the story based or non-story based creative images, many kinds of episode or behind-the-scenes story in the prep course of collection, designer's personal life or product world, or re-cutting course after collection. It also played a communicative role for public relation of new product ad, concept conveyance of seasonal collections, means as online collection to substitute for the existing offline collections, and better understandings of designer or fashion brand. Aesthetic values derived from case analysis of image fashion in the modern fashion of 21st century appeared in the form of trans-boundary as convergence art, fantasy in harmony with virtuality and reality, and interactivity among the humans, image media and fashions.

• Journal of the Korean Society of Costume
• /
• v.64 no.6
• /
• pp.1-15
• /
• 2014

In the fashion industry, the thing that shows the latest trends and makes issues is the fashion show. The function of fashion shows is changing from a promotional mean to a method of communication with customers. Recently, some fashion shows have used digital images and omitted traditional parts of a fashion show such as models, stages, garments, music and audiences. In this study, 30 fashion shows that used digital images were selected from the 2000-2010 collections of Paris, Milan, London and New York, and its communication characteristics were analyzed and discussed. The three categories of the communication characteristics are as follows: First, the shows used digital images as stage sceneries or effects to create desired stage effects. The digital images were used as extra tools to reinforce the concept of the fashion show. Second, the fashion shows used real-time videos to extend its presentation into the virtual space. The interactive videos were designed to encourage audiences to actively participate in the show. Third, the digital images were the focus of the show for the internet-only digital fashion shows. Since the Internet is not constrained by time or space, multi-faceted, communication between audiences and fashion designers or among audiences is possible. In addition, the number of audience it can reach is higher than traditional fashion shows. Digital images will be used more often in the fashion shows. In the future, fashion shows will try to become more interactive with audiences through the use of new digital image technology.

• Journal of Fashion Business
• /
• v.27 no.1
• /
• pp.16-35
• /
• 2023

The advent of Omni Channel has changed the fashion business model and the role of fashion sales persons. In such situation, internal marketing can become an important organizational management strategy for fashion companies. Therefore, the purpose of this study is to identify the components of internal marketing of fashion companies for fashion shop masters in an omni channel environment. To achieve the purpose of this study, To achieve the purpose of this study, a qualitative study was conducted to investigate the internal marketing sub-factors of fashion companies. In-depth interviews were conducted for qualitative study. Seven respondents to the in-depth interview were fashion shop masters who had at least 10 years of field work experience. As a result of the qualitative study, internal marketing was derived from five factors, including empowerment, education and training, rewards, internal communication, and management supports. Empowerment factors consist of initiative, encourage creativity, and problem solving. Education and training factors consist of the degree of education and training opportunities, the value of education and training, and the scope of education and training. Rewards factors consist of diversity of rewards, fairness of rewards, and source of rewards. Internal communication factors consist of communication flexibility, diversity of communication and receptivity of communication. Management support factors consist of headquarters support and department store support.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.36 no.9
• /
• pp.966-978
• /
• 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.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.1
• /
• pp.97-113
• /
• 2023

This study investigates the effect of consumers' trust in communication with online fashion mall avatars on performance expectancy and re-use intention. For the empirical study, 207 adults were surveyed using a 5-point Likert scale, and the results were analyzed with SPSS 21.0. The analysis reveals the following results. First, the factor analysis of trust in communication with the avatar, performance expectancy, and re-use intention revealed cognitive and affective trust as subfactors of the trust in communication with the avatar, while purchase choice expectations and performance expectancy were identified as subfactors of performance expectancy for the avatar. A total of five factors, including re-use intention, were recognized. Second, the trust in communication with online fashion mall avatars significantly positively affected performance expectancy for the avatar. Among the subfactors, cognitive trust was determined to have a greater influence on purchase choice expectations than affective trust. Third, the performance expectancy for the online fashion mall avatar significantly positively affected re-use intention. Notably, the subfactor performance expectancy had a greater influence than purchase choice expectations. Finally, trust in communication with online fashion mall avatars significantly positively affected re-use intention. Accordingly, the sub-factor cognitive trust had a greater influence on re-use intention than affective trust. The results of this study are academically significant in that they empirically test the influence relationship between trust in communication, performance expectancy, and re-use intention, considering the personal characteristics of online fashion mall avatars on consumers using the Meta-UTAUT model in the fashion field.

• The Research Journal of the Costume Culture
• /
• v.26 no.6
• /
• pp.994-1014
• /
• 2018

The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.