• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.739-747
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• 2008

There have been increasing consumption of luxury fashion and recent marketing researches on luxury syndrome, trading up, etc. in mass fashion today. Historically the consumption of luxury had been concentrated on only upper class in the past. But since 20th century, the mass consumers of modern consumptive society show their interests in luxuries which had been preoccupation of few elite class. Accordingly, it can be thought that the historical review on the changes in the meaning of luxury should be necessary for a better understanding of modern luxury consumption in sociocultural context. The purpose of this study is to grasp the sociocultural meaning of luxury in modern fashion with a holistic viewpoint by examining the changes of luxury consumption in mass fashion. It will be helpful as a conceptual approach of modern luxury consumption. For this, the documentary study has been executed. It focused on since 20th century, which can be the root of mass productive and consumptive society in fashion history. The results are as follows. The luxury in court elite system before 20th century had been concentrated on few elite class exclusively but gradually began to be represented as inferior cheaper version by mass production according to their increasing interests since industrial revolution. The luxuries in elite designer system in the first half of 20th century were represented as illegal design piracy and legal genuine reproduction in spite of problems brought about between originality and copy. The concept of mass as consumer was virtually alienated in both systems. But in fashion system since the second half of 20th century, various types of consumer luxuries has appeared on account of the trading up phenomenon in drastic growth of mass culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.13-29
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• 2012

Art works reflect the spirit and aesthetic information of the times. More specially clothing shown in paintings indicates the phases of the times and contains the aesthetic values of the era. The purpose of this study is to examine the characteristics of German Romantic Era on male and female clothing style represented in Caspar David Friedrich's paintings. The study aims to highlight the following: First, German romanticism ironically gives conceptual importance but high value to freedom of inner self and imaginative sensitivity of human beings. Second, the paintings of Friedrich show the consistency with nature through human beings' inner self and transcendency ultimately expressing religious ideals paradoxically. Third, the characteristics of male and female clothing style shown in Friedrich's paintings are considered religious, contemplative, paradoxical, transcendental, conceptual, political, grass-roots oriented, and female liberating. Female clothing reflects simple empire-style, while male clothing shows romantic style of people's leaders, reflecting the political features in those days.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.7
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• pp.935-951
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• 2013

The recent entry and heated competition of numerous fashion brands in the luxury fashion market have all compelled luxury businesses to change. The issue of brand equity has emerged as one of the most critical areas for luxury marketing management. Despite strong interest in the subject, there is little evidence of how brand equity is created by marketing activities and what their effects are. This study identifies the effects of luxury marketing activities on the brand equity of luxury items, utilizing Keller's (2001) 'CBBE (Customer Based Brand Equity) Model' as a theoretical framework. Based on literature review, a conceptual model for brand signature, heritage, premium price, controlled distribution, and promotion on customers' view on brand equity was tested. To test the hypothesized building paths of luxury brand equity, statistical analysis were performed with an AMOS 7.0 program using a confirmatory factor analysis and structural equation model. The results were: First, luxury brand equity was defined in terms of four components (brand awareness/association, customer judgment, customer feeling, and customer-brand resonance). Second, the proposed conceptual framework of this study was partially significant. We can provide an effectiveness of Keller's CBBE model to conceptualize the building process of luxury brand equity; subsequently, marketers should develop core elements to position a brand strategy to create a competitive advantage.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.327-339
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• 2017

A consumer is an individual entity with various motivations. This study is intended to incorporate a hierarchical structure of motivation to understand self-determined motivation for purchasing secondhand merchandise at thrift stores. A conceptual model adopted from Cadwallader et al. (2010)'s comprehensive model of motivation used in a marketing context was developed to investigate motivational process in secondhand merchandise shopping. The conceptual model includes the three levels of motivational structure-the global, contextual (environmental concern and frugality), and situational motivation. A series of the causal relationships among the three levels of self-determined motivations and buying intention to shop at thrift stores were hypothesized. A total of 219 respondents from two different northeastern state universities in the U.S. completed a self-administered survey. The results indicated that secondhand merchandise shopping is well explained in the hierarchical structure of self-determined motivation where the global motivation had a positive impact on the contextual motivations regarding environmental concern and frugality. Of the two contextual motivations, only environmental concern had a positive impact on situational motivation for shopping at thrift stores. Finally, the situational motivation positively influenced the intention to shop at thrift stores. The results of this model suggest that the hierarchical structure of self-determined motivation would be a very useful framework to understand consumer behavior for apparel shopping. Also, further research can be done to identify other contextual motivational factors to understand consumer motivation for shopping at thrift stores.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.155-171
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• 2002

Trompe-1’oeil technique strategically conceived with a view to effectively realize creative ideas among the expression techniques of fine arts style has provided the driving force in development of fine arts and has continuously influenced development of the modern fashion pursuing unique individuality. The purpose of this study is to open a new horizon for the development of fashion as a practical art, and to seek the expansion of the creative domain and ultimately to contribute to the creation of original and creative fashion by examining the interrelationship between Trompe-1’oeil, which has long been utilized and positioned as one of the leading fine arts techniques with the advent of surrealism in the beginning of the 20th century and the modern fashion. The study is focused first on finding out how Trompe-1’oeil technique originated in connection with researching the fashion of Trompe-1’oeil and on analysing the techniques of expression, and then on investigating into Elsa Schiaparelli, pioneer of Trompe-1’oeil technique to identify her influences, and finally on classifying clothes employing Trompe-1’oeil technique by their expression method to examine how Trompe-1’oeil technique has been applied to modern clothes. As for the research method, the researcher has referred to fine arts books, collection of pictorial records and the like to gain conceptual understanding of Trompe-1’oeil and to examine the expression method and the features of Trompe-1’oeil, and collected and referred to fashion books and fashion marazines to understand Elsa Schiaparelli and the expression tendencies of Tromprf-1’oeil in modern fashions. Particularly, the researcher has attempted to search the correlation between modern fashion and Trompe-1’oeil technique. As a result of this research, the researcher has managed to classify Trompe-1’oeil technique expressed in modern fashion into ‘harmony’, ‘application of the human body’, ‘front and back’, ‘surface and inside’. ‘completion of the incomplete’ and ‘detail.’ The researcher has also noted that Elsa Schiaparelli, a surrealist first applied Trompe-1’oeil technique to clothes and confirmed that quite a few avant-garde clothes designers following Elia Schiaparelli, by using Trompe-1’oeil technique in clothes, recently recreate fresh feelings.

• Fashion & Textile Research Journal
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• v.17 no.2
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• pp.147-156
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• 2015

Lately, unique hats, which worn by iconic figures in fashion industry, like Anna Piaggi and Isabella Blow to express the originality and self-awareness, received attention from the mass media along with their styles. The purpose of this research is to investigate, analyze, and media-specific characteristics of objet hats which are used to show various items, shape up targets, and express the concept of attires. In order to fulfill this, this study focuses on objet hat designers who have been influential from the 1980's to recent years. As for the research methodologies, this study conducts investigating examples from fashion related books, research papers, and websites along with literary research. Study of objet hat is based on cases and works of designer in objet hat in contemporary fashion expression shape. As a result, objet hat, First, the experimental work to maximize the effectiveness as a fashion objet containing the concept of designer in the runway shows. Second, as pieces displayed on art galleries and museums, objet hats are recognized as artistically defined world of conceptual designers' imaginations. Third, objet hats function as ways of celebrities' expression, who affects the public as fashion leaders. Lastly, objet hat designers's activities operate the story and notion contained in the work through a variety of genres. Objet hats, an independent fashion genre, which symbolize creativity and freedom, influenced the fashion industry with astonishing materials, forms, and decorations.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.174-187
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• 2005

Recently the issue of brand equity has emerged as one of the most critical areas for fashion marketing management. Despite strong interest in the subject, there is little evidence of how brand equity is created by marketing mix elements and what their effects are. This study explores the influences of marketing mix elements on the brand equity of apparel products. Based on a literature review, a conceptual model for the quality, design, price, advertisements, and brand leadership on consumer's view on brand equity through brand identification and brand values was formulated and tested. For comparative purposes, two basic casual brands are tested, one is Polo and the other is Giodano. The subjects were Korean .50 college women living in Seoul and Daejeon. Results showed that brand equity of casual brand is affected by quality, brand leadership, design, price, advertisements. Therefore marketers should develop the core element to position its brand strategy to create competitive advantages.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.815-824
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• 2004

In academic and/or practitioner literature, the assortment planning for fashion sensitive products is rarely systematically studied, and organized in an objective format. The purpose of this study was to develop a suggested assortment planning model for women's clothing retail buyers by integrating a conceptual assortment planning model and a practical-use assortment planning model, which are also developed in this study. In developing the conceptual model, this research categorized and organized the pieces of assortment planning activities illustrated in available literature. In developing the practical-use model, ten women's dress buyers from department stores and specialty stores were interviewed. The contents of the interview dictation were classified and summarized by concepts and variables. The summary was validated by the interviewees and recontextualized for the practical-use model. Five experts compared the conceptual and practical-use models, adjusted the discrepancies, and integrated into the suggested model. In addition, a questionnaire asking review of all functional activities of the suggested model was sent to interviewees to ascertain its validity. As the result, assortment planning process was determined at abstract level as the following: (a) recognize problem, (b) search for information, (c) evaluate qualitative value of product, (d) evaluate quantitative value of product, (e) plan product selection, and (f) plan sales.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.1-12
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• 2008

The expansion of media art has not only developed the digital technology but also given lots of environmental evolution to improve various fields of design as the main topic of the 21st century. The purpose of this study is aimed at proposing the new design that integrates fashion accessaries with media art technology. This will be done by understanding the social environment in digital ages and studying technology of design based on a variety of literature about changes in our society, neo value, vision, culture and art with fundamental notion of media art. First stage for this study, put an idea into just fashion accessary design because it is not sufficient to incoporate fashion and media art technology. The presented OLED(Organic Light Emitting Diodes) in this study is a kind of display to be in a limelight in the next generation and can be applied to various field of design. media art simultaneously moved into the scope of artistic debates. As a result, we can found that the use of audiovisual introduced numerous new aspects to the conceptual and aesthetic engagement with questions of conception. Today, the presented forms of art and inter-action from the closed -circuit work to interactive media art installations to open process-exist as parallel possibilities.