• Journal of Fashion Business
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• v.4 no.1
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• pp.1-12
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• 2000

The purposes of this thesis are to investigate characteristics, environment of characters through comprehensive approach to analyze its use and strategies in apparel brands. As a method to accomplish this research, fashion related articles, documents and magazines are used along with marketing references forecasting 21st century market changes. The character industry has diverse application to different medias and also intimacy and absorbtion beyond sex, age, generation, nationality. The cultural background of character fashion is based on casual clothing caused by wide spread pursuit of sports and leisure culture, indivisualization and diversification of clothing, customer-made marketing atmosphere and tendency of pursuit of fun and humor. In case of domestic young casual market, own characters are developed for creating differentiated it's own brand images. Characters are applied as an design details or cyber fashion models standing for the image of it's own brand and take a part in other events and visual parts as well. Characters not only limited to clothing items but also further usages of characters extended to stickers and other related stationary goods are necessary. A 'Character multi shop' can be one of good methods to maximize synergy effect.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.17-29
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• 2023

This study collected and analyzed reference information on the size labeling method and size of clothing products in 13 online shopping malls for plus size women in their 20s and 30s, and compared the size specification information focusing on jeans. First, in the results of examining the method of clothing size designation, clothing sizes indicated by 1, 2, 3 or physique designation (M, L, XL) differed between shopping malls, and even in the same shopping mall, even if the same size notation was used. Most the clothing sizes were different depending on the type of clothing. For bottoms, it was found that one company used seven size designation methods at the same time, two shopping malls used four size designation methods, and five shopping malls used three size designation methods. In the meantime, in the results of comparing the size specifications of jeans XL (size 88, 32 inches) by product part, for waist and hip circumferences, each of the eight companies showed that the size was smaller than the body size suggested by KS adult women's wear.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.4-14
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• 2010

Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. This study addresses the specific types of collaboration used in the fashion industry while also examining strategies that have been most successful for fashion companies and perceived benefits of collaboration from the customer perspective. In the present study we define fashion companies and brands as collaborators and their partners or stakeholders as collaboratees. We define collaboration as a cooperative relationship where more than two companies, brands or individuals provide customers with beneficial outcomes utilizing their own competitive advantages on an equal basis. Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. Through collaboration, fashion companies have pursued both tangible differentiation, such as design and technology applications, and intangible differentiation such as emotional and psychological benefits to customers. As a result, collaboration within the fashion industry has become an important, value creating concept. This qualitative study utilized case studies and in-depth interview methodologies to examine customers' attitudes concerning collaboration in the fashion industry. A total of 173 collaboration cases were identified in Korean and international markets from 1998 through December 2008, focusing on fashion companies. Cases were collected from documented data including websites and industry data bases and top ranked portal search sites such as: Rankey.com; Naver, Daum, and Nate; and representative fashion information websites, Samsungdesignnet and Firstviewkorea. Cases were collected between November 2008 and February 2009. Cases were selected for the analysis where one or more partners were associated with the production of fashion products (excluding textile production), retail fashion products, or designer services. Additional collaboration case information was obtained from news articles, periodicals, internet portal sites and fashion information sites as conducted in prior studies (Jeong and Kim 2008; Park and Park 2004; Yoon 2005). In total, 173 cases were selected for analysis that clearly exhibited the benefits and outcomes of collaboration efforts and strategies between fashion companies and stakeholders. Findings show that the overall results show that for both partners (collaborator and collaboratee) participating in collaboration, that the major benefits are reduction of costs and risks by sharing resource such as design power, image, costs, technology and targets, and creation of synergy. Regarding types of collaboration outcomes, product/design was most important (55%), followed by promotion (21%), price (20%), and place (4%). This result shows that collaboration plays an important role in giving life to products and designs, particularly in the fashion industry which seeks for creative and newness. To be successful in collaboration efforts, results of the depth interviews in this study confirm that fashion companies should have a clear objective on why they are doing the collaboration. After setting the objective, they should select collaboratees that match their brand image and target market, make quality co-products that have definite concepts and differentiating factors, and also pay attention to increasing brand awareness. Based on depth interviews with customers, customer benefits were categorized into six factors: pursuit for individual character; pursuit for brand; pursuit for scarcity; pursuit for fashion; pursuit for economic efficiency; and pursuit for sociality. Customers also placed more importance on image, reputation, and trust of brands regarding the cases shown in the interviews. They also commented that strong branding should come first before other marketing strategies. However, success factors recognized by experts and customers in this study showed different results by subcategories. Thus, target customers and target market should be studied from various dimensions to develop appropriate strategies for successful collaboration.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.879-891
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• 2007

Forecasting is a critical task for fashion companies because of continuous change in fashion and long process lead-time. Therefore, it is of great importance for both scholars and companies to understand how forecasted fashion styles are accepted by consumers. This research aimed to investigate consumer acceptance of fashion styles in Korea. The study examined and compared oversea collections of women's wear to the street fashion in Korea for seven seasons from 02 s/s to 05 s/s. Information on oversea collections were obtained from the magazine, Fashion Show, and the street fashion information from Seoul Fashion Design Center. The results showed that overall trends presented in oversea collections have been well accepted, while acceptance of specific styles or items varied. During the period of this research, sporty style and feminine style were very strong in the street fashion. Many styles and items were modified and selectively accepted probably because of cultural differences and limitations of mass production. Some styles which were presented in oversea collections were not accepted in Korea, and at the same time some cases were observed only in the street fashion in Korea. The results of this study provide guidelines for Korean apparel companies in merchandise planning and empirical findings to deepen the understanding on Korean society with respect to fashion.

• The Journal of Industrial Distribution & Business
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• v.2 no.2
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• pp.25-38
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• 2011

After the financial crisis, what has been the rapidly growth of large supermarkets, stores, and restaurants linked to concerns that have already reached saturation point, but the new opening large supermarkets is expected to continue into the future. The major supermarkets are continue to grow outward but growth slowed. And that is expected to continue differentiation of the product, acceptance the customer needs, acquiring high margin of sales products. Then the ongoing development of PB brand is to be positioned effective marketing strategy for overcoming the period of slow growth. In addition, big three local supermarkets continue to launch a clothing PB brand, expansion and operation strategy for the situation and based on this study and the success of the domestic large-Mart's PB and PB identifying problem and the need for differentiation and profit for the successful strategy is to discuss in this study. This research looks at the concept of major market's private brand, the strategy, the success example and the prospects, and views the globally rapid-growing private brands, not only having the limited role of distributing the products as retailers, but also having a control of the distribution channel as a manufacturing company. World's major advanced distribution companies, to differentiate their companies' products and increase the profitability, are putting a lot of efforts into private brand products, and there are many good examples that are globalizing, externally expanding, and creating high financial results. In this research, we presented three major domestic discount stores as examples to show that there is a need for a differentiated private brand management strategy in the saturated discount store industry in Korea. Also, we aim to provide a new product strategy for the future that has been saturated with discount stores to the limit, by providing suggestions that private brand products can be used as weapons with the strongest competiveness in the retail industry through pursuing store differentiations from thorough market analysis and product researches, meeting the customers' needs, and obtaining high margins. PB products, particularly clothing design, a thorough market analysis and product development trends and customer needs to reflect the acquisition of High margin differentiated powerful products and sustainable growth through the stores, large supermarkets, congested, a new breakthrough that can give a good opportunity to provide implications discount stores, new product strategy based on ways to limit proposed. This study discount the major three companies studied, the less strain is a generalization. In the future, domestic and local discount store brand PB, SPA brand that the multinational comparative analysis of the value of the PB expansion strategy centered on clothing, additional studies will be needed.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.979-986
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• 2014

This study establishes basic data for operations management by organizing processes and measuring time in the mini line for female jackets to improve productivity, ensure competitiveness, and maintain operator competency and the line process flow balance between apparel manufacturing companies. The results of this study are as follows. Sewing operations are divided into preparation functions, arrangement, partial tasks, and assembly that consist of 84 processes. The results from time measurement indicate that 3238.41seconds (sec) were required to produce a single jacket and that the average time required for operators was 231.32 sec. A control limit was established to increase the reliability of the measured value for net time. After outside values were removed, the operation time was measured to be 3176.35 sec. This accounted for 98.08% of the total operation time, with net time decreasing by 62.06. Skill and effort level coefficients were applied to measure the operator performance, the total real time was calculated to be 3415. The requirement for preparation and arrangement operations were 1233.35 sec, and 2182.22 sec for partial tasks and assembly operations. Process separation and organization were performed after the bottleneck operation was selected to identify the maximum line balance. Consequently, process efficiency of preparation and arrangement operations increased from 79.19% to 93.00%, and the partial tasks and assembly operations increased from 62.36% to 90.93%.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.844-854
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• 2016

In order to understand the current state of production and pattern design of circular knitted jackets, this study selected 11 female clothing brands based from the "2012/2013 Korea Fashion Brand Yearbook" and interviewed the staff in charge of patterns at the companies. Polyester and polyurethane were found to be synthesized and used for the outshell of circular knitted jackets, alternatively natural fabric cotton or wool were synthesized with rayon. As for the structure of circular knitted materials, Ponte Di Roma knitting structure (a modified form of a double knit) was most often used. Surveying the use pattern and the parts for padding cloth, six responded that they used elastic padding cloth. As for circular knitted jackets with inner lining, elastic padding cloth was attached to all parts (front, back, side panel, and collar - except for sleeves) of the basic bodice pattern. Eight responded that they did not use a basic pattern when designing a pattern, which exceeds the majority. All respondents answered yes to the question on if there is any difference in designing a pattern for a woven jacket and a circular knitted jacket. It was found that they designed a pattern that considered shrinkage and elongation, which are the features of circular knitted fabric. Shrinkage and elongation were the features of a fabric material most considered when designing patterns for a circular knitted jacket.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.15-26
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• 2013

The purpose of this study is to offer basic data for designing and making of brassiere with the consideration of the physiological nature of man. Each of 3/4-cup wired upward-support-type Mold Bra of 75 size with basic pad made at three representative domestic companies (A, B and C Company) was selected for analysis of pattern and components. The following is the result of this study. 1. That Company A's bra had the highest cup, relatively narrow width, the widest front-center and the highest front center at front pad. That of Company B had relatively short wing over the base and much difference at the height of cup depending on the presence of wire. That of Company C had low and wide cup, the widest bust span and the front center width, the front center height of front pad, the base length of front pad and the length of wings were observed to be of the figures between those of Company A and B. 2. The Bra of Company A had the biggest front center angle of $6^{\circ}$, while that of Company C had the biggest wing angle of $18^{\circ}$. The Bra of Company B showed the biggest difference of patterns depending on the presence of wire. Those of Company A and C showed very similar shape when wire was inserted. 3. The order of making brassiere is following: making of exterior mold cup${\rightarrow}$ sewing exterior cup and circumference of mold${\rightarrow}$ sewing base and wings${\rightarrow}$ sewing binding tape to base${\rightarrow}$ sewing cup and main pad${\rightarrow}$ sewing binding tape to upper sides and upper part of wings${\rightarrow}$ sewing wire-tape to interior base of cup${\rightarrow}$ inserting of wire inside wire-tape${\rightarrow}$ sewing hook & eye on the back of wings${\rightarrow}$ sewing shoulder string.