• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.47-67
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• 2021

The purpose of this study is to identify antecedent factors influencing the two-sided consumption intention tendencies observed in MZ generation from the viewpoint of consumption value in the cosmetic consumption scene of fashion houses. In order to verify the research model and hypotheses proposed in this study at the level of statistical significance. a survey was conducted for MZ generation, and data collected from a total of 286 samples were analyzed through a structural equation model. As a result. emotional and social consumption value was identified as a variable that had a great influence on the consumption intention of MZ generation. First, self-esteem had an effect on the emotion consumption value at the statistical significance level. Second, materialism had a significant influence on emotional and social consumption values. Third, public self-consciousness was found to have an effect on social consumption value. That is, MZ generation pursues the beauty trend presented by the fashion house's beauty brand and perceives it as a high consumption value. In addition, it was confirmed that MZ generation exhibited a conspicuous consumption tendency that they could be socially differentiated by using fashion house cosmetics.

• The Research Journal of the Costume Culture
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• v.22 no.2
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• pp.258-272
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• 2014

This study aims at comprehending the characteristics of fashion communications through case study about an art marketing that Prada develops in the field of modern fashion and providing theoretical materials on creativity-based art marketing and communication spread as expression strategy for brand philosophy and personality. For its research method, theoretical study was reviewed about art marketing and Prada's fashion philosophy and then cases on Prada's art marketing were analyzed according to their types. Prada's types in their art marketing are classified into several groups: support of art foundation and artists, differentiation via flagship store, application of image fashion, exhibition project, and cooperative work with different realms. From the above marketing strategies, we can find the values in that the brand image imbedded in enterprises with culture and art was contributable to set up the brand identity, that they were much beneficial to continuous activation for fashion culture and art fields, and that fashion communications of artistic emotion based on challenge and innovation were proposed. This fashion communication in Prada via way of art marketing is not just expression of Prada's luxury fashion brand but willingness to make their unique style from different facades. This also suggests the orientation that modern fashion should look forward to in finding a new way through cooperative relationship with other fields.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.43-56
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• 2019

The purpose of this study is to analyze the phenomenon of 'play' in contemporary fashion creation from an interactive point of view and to analyze cases in the contemporary fashion design creation process. The research method was a combined literature review and a case study. As a result of the research, we have derived the creations of interactive fashion design from the viewpoint can be categorized as 'play as creativity', 'mimesis', and 'deviance'. First, creativity can be seen in DIY products, customized products, and clothing that reflects the consumer's way of wearing. By actively intervening in the products and expressing their creativity in the product, it can be considered as a DIY creation. Second, mimesis in the creation of a fashion design that occurs when consumers imitate the designs of the famous fashion designers. Often similarity and difference are generated, while sometimes objects are newly constructed. Third, deviance means that an item is reborn with a completely different intention from the original shape and function by the intervention of the 'hacker' consumer. For example, the logo and the design of a luxury brand are transformed to satirize its legitimacy. In this paper, we analyzed the cases of fashion design creation as an interactive play and investigated their characteristics and tendencies.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.984-1003
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• 2020

The global fashion industry produces significant carbon emission and micro-plastics in oceans. Studies on sustainable design methods as such environmental issues in fashion are becoming intensely problematic. This study conducted a case study on 100 upcycle fashion brands to propose strategical upcycle fashion designs to compete in a sustainable fashion market. A literature review indicated that 3 types of textile wastes are generated as upcycling materials: post-producer, pre-consumer and post-consumer. Wastes are categorized together with 3 types of techniques: redesigning, reconstruction and handcrafting. This research derived 7 types of upcycle fashion designs that have the following features: to make luxury upcycle fashion products, to make sustainable grunge looks, to re-evaluate deadstocks, to recover vintage clothes, to convert waste into craft-arts, to offer solutions for damaged products, and to make zero-waste small fabric waste. The study results show that key drivers in the upcycle fashion design are the redesignability of materials and technique-related costs. This study implies that adopting appropriate design features can be a useful strategy for designers. New technologies will solve current problems and encourage them to design products in a new circular value system.

• Management & Information Systems Review
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• v.36 no.4
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• pp.21-32
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• 2017

Motivated by the recent cases of negligent social responsibility as manifested by foreign luxury fashion brands in Korea, this study investigates whether agency costs depend on the sustainability of different types of corporate governance. Agency costs refer either to vertical costs arising from the relationship between stockholders and managers, or to horizontal costs associated with the potential conflicts between majority and minority stockholders. The firms with luxury fashion brand could spend large sums of money on maintenance of magnificent brand image, thereby increasing the agency cost. On the contrary, the firms may hold down wasteful spending to report a gaudily financial achievement. This results in mitigation of the agency cost. Agency costs are measured by the value of the principal component. First, three ratios are constructed: asset turnover, operating expense to sales, and earnings before interest, tax, and depreciation. Then, the scores of each of these ratios for individual firms in the sample are differenced from the ratios for the benchmark firm of S-OIL. S-OIL was designated as the best superior governance model firm for 2013 by CGS. We perform regression analysis of each agency cost index, luxury fashion brand dummy and a set of control variables. The regression results indicate that the agency costs of the firms with luxury fashion brand exceed those of control group in the fashion industry in the part of operating expenses, but the agency cost falls short of those of control group in the part of EBITD, thus the aggregate agency costs are not differential of those of the control group. In sensitivity test, the results are same that the agency cost of the firms are higher than those of the matching control group with PSM(propensity matching method). These results are corroborated by an additional analysis comparing the group of the companies with the best brands with the control group. The results raise doubts about the effectiveness of management of the firms with luxury fashion brand. This study has a limitation that the research has performed only for 2013 and this paper suggests that there is room for improvement in the current research methodology.

• Journal of Fashion Business
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• v.16 no.2
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• pp.27-43
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• 2012

Considering the rapid growth of mobile industry and the emerging application marketing, this study focused on fashion applications, which had not drawn much academic attention before, and analysed relevant content composition, information-seeking benefits based on users' lifestyles and resulting differences in satisfaction and loyalty. In short, fashion applications were divided into fashion and non-fashion brand apps. Brand apps were subdivided into luxury, women's wear, men's wear, casual wear, sportswear, accessories and the like. Non-brand apps included commerce, magazine, information, style tip, SNS and wardrobe manager types. As for users' lifestyle-based information search, the higher the tendency to search information on the internet and to favour reasonable consumption, the more basic information on products and brands they sought, whereas the higher the tendency to look for high-profile brands and to favour global culture, the more additional information like images or entertainments they sought. To sum up, given that studies on fashion-specific applications were rare, the present study reviewed and categorized current fashion applications, and suggested theoretical and practical groundwork for developing content based on target consumers' lifestyle and for planning fashion applications in practice.

• Journal of Information Technology Services
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• v.23 no.2
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• pp.63-81
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• 2024

With the advancement of Information and Communication Technologies (ICT) and Artificial Intelligence (AI), the metaverse has emerged as a transformative model across various sectors, offering a three-dimensional virtual world where activities mirroring the real world occur. This study delves into the significant factors influencing fashion brand companies' investments in the metaverse, an evolved concept from Virtual Reality (VR) that extends beyond gaming to include real-life activities through avatars. This study highlights the surge in virtual fashion engagements, as evidenced by increased avatar updates and purchases of digital fashion items on platforms like Roblox. Luxury brands are steadily entering the metaverse indicating a new revenue stream within the fashion industry. This study employs a mixed-methods approach, integrating text mining and interviews to identify key factors for fashion companies considering metaverse investments. By proposing strategies based on these findings, this study not only enriches academic discourse in fashion, e-commerce, and information systems but also serves as a guideline for fashion companies aiming to navigate the burgeoning digital market, contributing to the generation of new revenue streams in the fashion sector.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.121-132
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• 2005

The purposes of this study were to examine fashion jewelry consumers' purchasing behavior, and to compare store retailing consumers and non-store retailing consumers. Subjects were 614 women in age from 20 to 55 years old in Seoul for this study. For data analysis, descriptive statistics, factor analysis, 2-test, and t-test were used. As the results, 52.9% of respondents had purchased fashion jewelry products via store retailing such as department store, road shop, discount store, while 47.1% of respondents had purchased them through non-store retailing such as internet shopping mall, TV home shopping, and catalog shopping. It revealed that conspicuous consumption had 2 factors: public-self consciousness and luxury product preference. Fashion leader consisted of 3 factors: fashion innovation, fashion interest, and fashion opinion leader. Brand royalty encompassed brand recognition, brand preference, and brand trust. Generally, store retailing consumers had more conspicuous consumption, higher fashion leadership, and stronger brand royalty than non-store retailing consumers. Based on these results, marketing strategies would be suggested for fashion jewelry markets.

• Journal of Fashion Business
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• v.15 no.4
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• pp.28-42
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• 2011

Philp Lim, Alexander Wang and Jason Wu are the American fashion designers as descendants of Chinese immigrants. They had the honor of being given the Swarovski Awards- new premier fashion designer- from CFDA(Council of Fashion Designers of America). The purpose of this study were to investigate the characteristics of their collection, and offered the informations for Korean designers entering the American market. This research categorized characteristics of these designers'- whole characteristics and the characteristics of details such as formal characteristics, optimistic characteristics, tactile characteristics-, and fashion styles from the S/S season of 2009 to the F/W season of 2010 were analyzed. These young and male designers being received attention as a star, didn't make creative art pieces. But they made pragmatic, commercial, and con-temporary works in whole characteristics and succeeded in their fashion business like other American designers. On the other hand they oriented high fashion clearly in terms of the detail characteristics - their own accent color, tiny change in variety, unique material, delicate ornaments. Therefore Lim created chic and stylish, Wang made a sporty street style, Wu made a luxury style with mannish and casual through work characteristics suitable for their costumer.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.1 s.7
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• pp.4-11
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• 2006

Masstige goods aimed consumers who want the fame and the emotional contents with reasonable price are presented overall and around the life style, from all the fashion items like bag and apparel to car, electric household, food, sports goods, furniture, toys, pets and performance of art, etc. Masstige casual, essentially different from the passed casuals which emphasized only price strategy, appeals to teenagers and young of twenties with a definite brand concept. Therefore masstige casual might be separated from business casual of a target aged thirties. Established celebrity brands have launched masstige brands matching the popularization of prestige goods. Armani Exchange from Armani, Marc by Marc Jacobs from Louis Vuitton are representative ones. DKNY from Donna Karen, MiuMiu from Prada, Paul smith Pink from Paul Smith can be added. These are relatively inexpensive, however the quality, design and shop's atmosphere are more exclusive than general brands. Consumers are over middle class and have a pride and fidelity to those brands. Leading Masstige trend, new luxury brands put the importance to the quality and aims middle class. To succeed in this field, companies should know exactly what consumers want, considering not only functional aspect but also emotional pleasure. Even though masstige has a weakness in pricing, it has to keep brand's proper benefit. Its price range could be wide to be in great demand but has to have elasticity and not to be expanded too much. Masstige industry should do its best not to damage original brand's identity. Forming family brand, like Armani made Georgic Armani, Emporio Armani and Armani exchange, system of parent brand and sub brands would be recommendable. From the launching time, masstige needs the effects to create a sensation and bring it into vogue and offer emotional value to the consumers.