• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.200-207
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• 2012

This paper is analyzed the successful fundamentals of collaborative design management strategy from case of corporates such as, Louis Vuitton, H&M, MINI, Black Berry, Chanel, and Prada. Collaborative design management contributes creating cultural life and concurrently achieving corporate purpose through new vision and value creations which is a combination of rationality and originality as interacting design area and management area.In addition, collaborative design management has been emerged in order to create new business model in the rapidly changing modern society. It should be horizontal intercourse in order to increase social value and positive effects of each others to collaborative design management and play an important role in the new partner to build an effective business model. These case studies established the successful design strategy which is well structuring the systematic design network and efficiently managing the brand image from analyzing the user's needs and their life styles as an element of collaborative design management. This research is presented the mean of collaborative design management as a managing element to build a successful business model and proposed an appropriate application plan through the case studies.

• Journal of Fashion Business
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• v.27 no.2
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• pp.88-107
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• 2023

This study aimed to understand the current status of practice for sustainability in luxury fashion brands. A total of five luxury brands (Louis Vuitton, Hermès, Gucci, Burberry, and Prada) were selected. Each company's official website, sustainability reports, and articles on sustainability practices were compiled. In addition, analysis was performed based on criteria of sustainability such as environmental, social, economical, and cultural dimensions. As a result, the biggest commonality of the five brands was that they promoted the most active change in the environment. These brands tried to reduce energy consumption in materials and production processes. Among them, Burberry, Gucci, and Louis Vuitton had their own departments for sustainability. However, there were differences in strategies of activities between brands for social, economical, and cultural sustainability. Among the five companies, Burberry and Gucci pursued sustainability strategies the most aggressively. They separated their sustainability strategies in terms of environmental, social, economical, and cultural aspects and shared them with consumers. A set of outcomes for the plan were provided as objective data. The sustainable management strategy has become a key strategy for long-term growth of the luxury brand market. To survive in the market, luxury brands should elaborate sustainable management strategies and actively share them with consumers.

• Journal of Fashion Business
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• v.26 no.1
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• pp.16-29
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• 2022

Environmental problems increasingly serious, and sustainability in the fashion industry has become an essential factor. Nowadays, numerous brands are engaging in sustainable fashion activities, such as recycling, vegan, fair trade, etc., which have not been done before. However, there are limited studies about sustainable fashion activities focusing on luxury brands. The purpose of this study is to establish the current status of luxury brands' sustainable fashion activities based on the macro trend of Todeschini et al(2017)'s thesis. This study selected six global luxury fashion brands Louis Vuitton, Hermes, Gucci, Prada, Burberry, and Stella McCartney. Data were collected from the brand's websites and reports, fashion magazines, and Google. As a result of the study, the following adjustments are being implemented; first, efforts are being made to reduce the consumption of natural resources. Second, transparency on working conditions is provided in various ways. Third, luxury brands' awareness of the sharing economy was not opened. Fourth, efforts are being made to develop eco-friendly materials and technologies to minimize wastage. Based on these research results, if applied as basic data for the development of Korean fashion brands and start-up companies, it will help establish directions of sustainable fashion strategies.

• Journal of Fashion Business
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• v.27 no.6
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• pp.66-84
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• 2023

Handbags are a part of fashion and while their significance and value are increasing, research on this topic is lacking. This study defines handbags and categorizes the materials used for making handbags, sewing methods, expression techniques, and terminologies related to accessories. A total of 1,743 handbags that were released from the Spring 2020 to Fall 2023, Ready-to-Wear collections by 8 selected brands (Hermes, Dior, Fendi, Chanel, Louis Vuitton, Prada, Gucci, and Alexander McQueen), were analyzed. Out of these, 732 unique designs, excluding those with only color variations, were studied. The most common sewing methods were 'Cut, sewing, and edge painting', 'Cylinder arm sewing', 'Cut, edge painting, and sewing', and 'Inverted seam', in that order. Slim strap designs primarily used the 'Cut, sewing, and edge painting' method, whereas the body, especially with narrow and hard leather, was best suited for the 'Cylinder arm sewing machine'. For expression techniques, the most frequently used methods were 'Quilting', 'Metal Eyelet', 'Embossing', 'Printing', 'Punching', and 'Weaving', respectively. The characteristics of each brand's production methods, expression techniques, and accessories were as follows: First, the exposure of logos and monograms is prominent. Unlike clothing, handbags often prominently feature the brand's logo or monogram. Second, signature quilting is a prominent feature. Quilting effectively conveys the brand's signature style, providing cushioning, volume, and pattern effects. Third, sustainable development is a growing trend. Brands are increasingly applying eco-friendly and socially responsible designs.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.692-702
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• 2005

The purpose of this study was to explore global consumer behavior with fashion products, Korean fashion products, and Korean traditional fashion products (i.e., Han-Bok). Clothing selection criteria for fashion products and Korean fashion products were included as major constructs far the comparison among global consumers based on their nationality. Other consumer behavior variables were shopping place, buying frequency, purchase experience/plan, preferred brand, purchase items, information source, purchasing usage, and the product evaluation of Hanbok. A convenience sample of 236 global consumers was selected for this study. A questionnaire was pilot tested, and the revised questionnaire was used for the interview survey. Descriptive statistics and ANOVA were used for data analysis. Various nationality were existed such as Europe, North America, Japan, China, South East Asia. The results indicated that the most important criteria for fashion buying were design, fit, and size in order. Fit, size, and color item from buying criteria were significantly different among global consumers by nationality. Country of origin was found as less important factor among global consumers. Department store was most favorable shopping place, and once a month is the most mentioned category in buying frequency. Preferred brands were Levi's, Polo, Gucci, and Prada, etc. Secondly, regarding the evaluation of Korean fashion products, textile quality was highly evaluated. Significant difference except design/style category were existed among global consumers by nationality. Thirdly, regarding the evaluation of Hanbok, the product evaluation of Hanbok highly represented as special event clothing, unique image, beautiful details and oriental beauty in order. Significant difference in good quality of textiles, oriental beauty, coordination with good colors and fabrics, beautiful details and unique style and design were existed among global consumers by nationality. Managerial implications were discussed.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1487-1496
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• 2008

The purpose of this study is to provide guidance to plan bag design with an analysis of design properties of bags of famous overseas brands in a pret-a-porter fashion collection. For this purpose, the pret-a-porter fashion collection from 2001 S/S to 2005 F/W is divided into the following sectors: brands, years, and seasons, focusing on the design elements. The reference for the actual study was 773 pictures of bags that were collected of Chanel, Louis Vuitton, Gucci, Christian Dior, Prada, Fendi and Etro collections. The results of this study are as follows. With regard to the character of the bag design classified by brand, the design property was embossed with all design elements. Therefore, we can use design elements to express design property, like bag design of famous overseas brands. With regard to the changes of bag design year by year, it was changed with almost all of the design elements. Therefore, it is noted that bag design do well to reflect the fashion trends of the year with almost all design elements. With regard to design properties of seasonal bags, bag design properties which are popular in the S/S season are circle form, small size, lively colors and so on. On the other hand, bag design properties which are popular in the F/W season are common form, large size, quiet colors and so on. Therefore, it is noted that bag design do well to reflect the seasonal trends.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.10
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• pp.1058-1073
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• 2012

This study examines the effects of collaboration type and brand sensitivity on consumer responses toward fashion collaboration brands. For this study, six brands of fashion collaboration were selected by collaboration types: collaboration with same industry (Uniqlo-Jill Sander, H&M-Sonia Rykiel, and Levis-Jean Paul Gaultier) and collaboration with different industries (LG-Prada, Samsung-Armani, and LG-Levis). A selfadministered questionnaire was developed based on the literature that mainly included brand sensitivity, consumer response (brand association, brand values, and purchase intention), and marketing strategic elements in the context of fashion collaboration. For collecting the data, respondents were asked to choose and assess a previously purchased brand. A total of 299 usable data responses were obtained from Korean consumers aged from 15 to 40 years old. The consumer response toward the fashion collaboration brand consisted of four factors: Emotional value, perceived quality, symbolic value, and brand association. The results showed that the collaboration type had the main effect on emotional value, symbolic value, and purchase intention. Brand sensitivity had the main effect on brand association, emotional value, symbolic value, and purchase intention. There was also an interaction effect on emotional value. With respect to strategic marketing elements, product differentiation, premium pricing, and value pricing had partially positive effect on consumer responses; however, promotion had a negative effect on consumer responses (e.g., perceived quality, and emotional value). In addition, collaboration type or brand sensitivity moderated the effect of strategic marketing elements on consumer responses. This study discussed a managerial implication to develop a strategic brand alliance to manage brand equity in the fashion marketplace.

• 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.

• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.7 s.155
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• pp.1054-1065
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• 2006

This study aims to provide basic data conducive to developing popular and international products by analyzing the mechanism, factors and design of ethnic sports fashion incorporating ethnicity and sports sense that may satisfy the physical and psychological needs of modern humans who tend to seek 'well- being'. The methodology includes literature reviews and positivist study, and visual materials include domestic and foreign fashion magazines, newspapers, fashion journals, ad photos, collection photos, and internet that cover colors, materials, detailed sports fashion design that are considered to have an ethnic image. Its scope is limited to the period from 2000 through 2005 S/S. The results of study are as follows: First, sports fashions through incorporation of sports emotion and fashion, mixes and matches existing formal wear, casual wear, or leisure wear with sportswear, or introduces and utilizes materials, details, accessories, or image from sportswear. Second, 1) from the changes by year in sports fashion, ethnic images were strongly expressed by the influence of naturalism in the early 1990s, and functional sports fashion has been fused with ethnic image with functionalism becoming stronger and wellbeing trend expanding from the mid 1990s through 2000s. 2) The cause of ethnic image in sports fashion included hybrid, multi-culturalism, and naturalism. Third, the ethnic images revealed in the sports fashion designs of Prada, Louis Vuitton, Gucci, and Y3 are simple and unique based on functionality and activism.