• 벤처창업연구
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• 제10권4호
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• pp.95-111
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• 2015

본 연구의 목적은 명품을 학문적으로 정의하고, 소비자의 명품의 구매의도에 영향을 미치는 명품성의 결정요인에 대하여 제품속성과 인지 구조적 관계를 규명하는 것이다. 명품성은 소비자에게 핵심가치를 제공하는 기능적 혜택, 경험적 혜택, 상징적 혜택, 배타적 혜택을 유인하며 소비자의 심리적 만족에 미치는 영향요인이다. 기존의 명품성 요인의 척도 개념으로는 소비자가 명품을 선호하는 이유에 대하여 충분히 설명을 하지 못하고 있다. 본 연구에서는 소비자가 지각하는 명품이 무엇이고, 명품성이 무엇인지를 마케팅관점에서 개념화하기 위하여 선행이론을 바탕으로 연구모형을 새롭게 제시하였다. 제품속성은 기능적 단서(품질, 디자인), 상징적 단서(브랜드, 가격)로 구분하고, 명품성 요인은 우월성, 희소성, 차별성, 전통성으로 구분하였다. 본 연구에서는 이와 같은 이론적 개념을 바탕으로 명품의 제품속성과 명품성이 소비자의 구매의도에 미치는 영향 관계를 실증적으로 분석하고자, 총 282개의 표본을 대상으로 통계분석을 실시하였다. 조사대상제품은 명품 소비자를 대상으로 사전 조사된 B자동차로 하였다. 구조방정식 모형의 분석을 이용한 가설 검정결과, 제품속성과 명품성의 관계에서 제품속성의 기능적 단서인 품질은 명품성의 우월성과 차별성에 유의한 영향을 미치며, 디자인은 희소성에 유의한 영향을 미치는 것으로 나타났다. 또한 제품속성의 상징적 단서인 브랜드는 전통성에 유의한 영향을 미치며, 가격은 우월성과 희소성에 유의한 영향을 미치는 것으로 나타났다. 그리고 제품속성은 구매의도에 부분적으로 유의한 영향을 미쳤으며, 또한 명품성은 구매의도에 부분적으로 유의한 영향을 미치는 것으로 나타났다. 따라서 본 연구에서 제시된 명품과 명품성의 구조적 개념은 새로운 연구모형을 구축하는데 이론적 기반을 제공할 것이며, 마케팅 관점에서 명품성의 결정요인은 소비자의 심리적 내적동기 요인을 확인하는데 실무적으로 도움이 될 것이다.

• 복식문화연구
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• 제29권2호
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• pp.185-203
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• 2021

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia's Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

• 한국의류산업학회지
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• 제26권3호
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• pp.251-264
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• 2024

This study identified the structural impact relationships, mediated by information reliability and brand authenticity, of different types of environmental messages from the perspective of luxury fashion brands, leading to formation of brand attitudes. Additionally, the study investigated how the impact of message sidedness on the formation of information reliability and brand authenticity varies according to consumers' regulatory focus tendencies. Data were collected through online surveys targeting individuals from Generation MZ, utilizing a professional research firm. A total of 300 respondents (150 for one-sided scenarios and 150 for two-sided scenarios) were selected. The collected data were validated using SPSS and AMOS. The following results were obtained. First, message sidedness influenced information reliability and brand authenticity, both of which demonstrated positive effects on brand attitude as mediating factors. However, message sidedness did not directly affect brand attitude. Second, consumers with both promotion and prevention focus tendencies perceived higher information reliability in two-sided message scenarios, and the perception difference in information reliability based on message sidedness was more pronounced among consumers with a prevention focus. Additionally, consumers with a prevention focus did not show a significant difference in brand authenticity between one- and two-sided message scenarios, while consumers with a promotion focus demonstrated an increase in brand authenticity in two-sided message scenarios compared to one-sided ones.

• 한국의상디자인학회지
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• 제21권2호
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• 한국의류산업학회지
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• 제24권2호
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• pp.173-182
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• 2022

As consumption pattern and fashion communication become digitalized, fashion houses are being inherited by creative directors owing to their expanding role. While the roles and responsibilities of creative directors have been changing extensively along with the dynamic nature of the fashion industry, researches on creative directions have mostly focused on luxury brands. This study examined the creative direction of John Galliano for Maison Margiela, a conceptual brand to be maintained by a creative director. To analyze this, the authors established a creative direction analysis model constituting five elements: brand heritage, trend, democratization, brand status, and persona, drawing on the luxury brand architecture by Kapferer and Bastien. Thus, Galliano has maintained anonymity as a heritage of Maison Margiela, expanding the existing Replica lines, and introduced fashion shows focusing on current issues or social phenomena. As a democratization strategy, he directed the brand to associate with more popular brands or expanded diffusion lines to secure broader customer base, while demonstrating couturier-like showmanship in the media and establishing his own persona. His direction for Maison Margiela recreates and expands brand heritage by transforming the brand philosophy. Therefore the new creative direction communicates with the wider public and diversifies customer bases through democratization strategies, while building Galliano's own persona.

• 디지털산업정보학회논문지
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• 제18권3호
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• pp.97-110
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• 2022

The case study looks into the case of the "extreme" market segmentation strategy of company L with its top luxury windows and door brand "Lonchel". Company L has long enjoyed a leading position in the Korean windows and doors mass market. However, it went against their already well-established flagship brand and created a completely new one called "Lonchel", pursuing an extreme market segmentation strategy focusing on the small niche market of highest-income customers exclusively. The strategy has turned out to be successful and the company has gained long-lasting competitive advantages. In this vein this study analyzes the market environment in which the top-tier brand "Lonchel" appeared, the concept of the extreme positioning and the smallest viable market, the characteristics of target customers, the company's analysis of and response to them, and the analysis of products to meet their needs. The brand operation plan and promotion will be also reviewed. Through this, we intend to draw implications related to the extreme positioning strategy that a company may pursue in a target market of small groups of people.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.39-44
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• 2023

As the number of companion animals reaches 15 million in 2022, the pet wear market is expected to grow at an average annual rate of about 14.5% from KRW 1.5684 trillion in 2014 to a market size of over KRW 6 trillion in 2027. However, most of the pet clothing and various supplies currently in circulation are either cheap, low-quality products imported from China or other countries, or expensive products released by overseas luxury brands. Therefore, it is urgent to develop a brand that can compete with luxury products coming from overseas by developing premium pet fashion products using high-end functional fabrics produced domestically. This study seeks to propose ways to revitalize the domestic pet fashion market by examining the current status of global pet fashion, the domestic textile industry, and the current status of the pet fashion market. The suggestions and expected effects are as follows. First, active support is needed for the development of products using domestically produced fabrics, such as raising awareness through various subsidy projects and contests. Second, it is expected that small and medium-sized businesses will be revitalized through the production of pet fashion products using high-quality functional knit fabrics produced in northern Gyeonggi Province. Third, it is necessary to produce high-quality premium products through continuous and intensive support from the government and collaboration between large corporations and small and medium-sized enterprises. Fourth, there is an urgent need to provide opportunities to train experts for the expected effects of starting businesses and creating new jobs.

• 한국가구학회지
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• 제25권4호
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• pp.268-276
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• 2014

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 한국가구학회지
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• 제24권2호
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• pp.113-120
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• 2013

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.

• 복식문화연구
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• 제10권3호
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• pp.293-305
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• 2002

This paper describes the new trends of fashion industry in the era of digital media and Internet paradigm, where fashion is no longer just static contents. Fashion becomes crucial and dynamic contents for infotainment, mobile Internet, and digital media. As therefore, the fashion industry could be positioned as fashion information industry and key elements of fashion communication. In the future, fashion education should be repositioned as dynamic Intermediary not only for traditional textile design, costume design, and merchandising, but also for dynamic fashion information provider, fashion communication and fashion-oriented media related to digital Information, and Internet. As a case study, we briefly describe the successful co-marketing strategies of world-class luxury fashion brands, fashion media, and Internet service provider.