• Journal of Fashion Business
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• v.20 no.6
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• pp.111-134
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• 2016

A luxury brand bag is a medium to symbolize brand identity and plays a role in enhancing brand value. A typical example is a designer signature bag such as Hermes Kelly Bag, Birkin Bag, and Lady Dior Bag. The purpose of this study is to analyze the design changes and acceptance of identity of luxury brand bags and examine the design characteristics that succeed to the value of a luxury brand bag. The subjects of the study focused on Louis Vuitton, Gucci, and Chanel bags. Photos were collected from www.vogue.co. uk. based on the fashion collections from S/S 2007 to S/S 2016. The study methodology was to analyze the kinds, shapes, colors, materials, and the ornament of subject bags based on previous studies. The results of the study were summarized as follows. For the identity and design changes of each brand, Chanel has tried to combine functionality pursued in the past with constantly changing femininity by making bags in fantastic moods using various materials and free shapes. Gucci has constantly used Ornament elements holding the brand identity of classic bags and trend colors to keep tradition. Louis Vuitton holds fast to its functional shape to protect brand identity through design philosophy that started with a travel luggage and attempts to express modern emotion through Ornament changes. This study confirmed that luxury brands have accepted their unique design characteristics holding brand identity to improve their brand value and attempted to change constructive elements in many different ways for modern reinterpretation.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.52-75
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• 2014

The purpose of this research is to classify the historical features of mid-to-late twentieth century Korean fashion with a focus on 'Nora Noh', who is a first generation Korean fashion designer. The specific questions of this research are as follows: how did mid-to-late twentieth century Korean fashion and the Nora Noh brand develop and what is the relationship between the two? What are the important features of Korean women's fashion design in the mid-to-late twentieth century? What are the characteristics exhibited in each decade in Korean women's fashion and Nora Noh's fashion? This paper conducted the research by focusing on the Korean fashion development as a background of simplification in the way of dressing and specific historical incident. Researchers deployed a qualitative research method providing a systematic review of the previous studies by analyzing content as well as eleven oral statement interviews and the case study of Nora Noh. The result shows that Nora Noh is one of the first generation of Korean fashion designers who led fashion trend and system in Korea. The designer also influenced Korean commercial fashion in the 1970s and American fashion trends in the 1980s.

• International Journal of Costume and Fashion
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• v.18 no.2
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• pp.65-83
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• 2018

The purpose of this study was to explore the dynamics of the newly emerging designer fashion market and examine how startup designers reacted to the tension between creativity and business, and how they grew within such dynamics. In-depth interviews were conducted with 22 DFE entrepreneurs and 7 fashion industry experts. The grounded theory was used to analyze data and yield results. Korean new generation of DFEs, attracted by the growing online market opportunities are directly distributing through online channels, targeting the millennial consumers who are pursuing new values at new distribution channels. They show new growth pattern, start with a few key items in the middle and lower price segments, then upscale their design, quality, and price. This study further investigated designers' enterprise orientation shift, which was explored by Mills. Some creativity-oriented designers encountered difficulties in the orientation shift, while designers who demonstrated business characteristics from the startup stage restored the balance by trying to improve both creativity and business. This study discovered a new way for the designer to enter the growth stage. This growth approach is one of the success strategies applicable to designers launching a brand on online platforms in the global market.

• Journal of Fashion Business
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• v.4 no.2
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• pp.51-67
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• 2000

The purpose of the study was to investigate general characteristics of brand images of men's wear manufacturers and differences in their brand images according to characteristics of their brands and their merchandise. Thus, this study was to be an exploratory study to search apparel niche-market in men's wear market for the marketers by exploring trends of brand images of men's wear manufacturers. The questionnaire consisted of questions on brand images and characteristics of men's wear manufacturers and their merchandise. The subjects were to evaluate their brand images and rated on 5 point Likert-type scales of 36 adjectives. For the survey, the subjects were 100 employees (62 merchandisers, and 24 designers, etc.) who are employed by men's wear manufacturers which have national brands, designer brands, license brands, import brands or private brands. The SAS PC+ package was used to calculate factor analysis, mean, ttest, ANOVA, Duncan's test, and Tukey's test. The results from the study were as follows: 1) High scores of mean of brand images were simple, prestigious, mannish, and dynamic. 2) The brand images of men’s wear manufacturers were divided into 10 factors which explain 73.91% of the whole image. 3) There were significant differences in brand images according to types of brands, price lines of merchandise and ages of target consumers. 4) There were significant differences in brand images according to categories of apparel (suits vs. casual clothing), types of suits, and types of casual clothing. 5) There were significant correlations between brand images, such as simple image to conservative image, prestigious image and chic image, prestigious image to conservative image, chic image and simple image, etc.

• The Journal of Asian Finance, Economics and Business
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• v.7 no.2
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• pp.195-204
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• 2020

Customer loyalty is a desired and essential result for companies in a business environment with a lot of competition, of which the fashion industry is no exception. For the fashion industry, the competition between businesses is increasingly fierce with the appearance of tailored fashion brands for each customer, also known as a designed fashion brand. The objective of this study is to examine the relationship between the antecedents of the relationship (reputation of designer, social media marketing) and customer relationship (trust and intimacy), and loyalty of customer for a designed fashion brand. The mixed research method is used to achieve research objectives with qualitative and quantitative research method. Qualitative data was collected through in-depth interview with 12 participants in Ho Chi Minh City, while quantitative data was collected by a survey of 799 respondents in Ho Chi Minh City and Hanoi City. The results show that the antecedents of relationship marketing positively affect on customer relationship and customer loyalty. Moreover, customer relationship has a positive impact on the customer loyalty when shopping for fashion products. From the research results, some managerial implications are also proposed for the designed fashion brands to improve the relationship marketing performance.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.101-113
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• 2016

This study was conducted in order to analyze draping and flat pattern according to jacket design, and provide basic materials for developing a jacket pattern that can enhance fitness, functionality, and aesthetic expression of clothes by reflecting esthetic expression of draping and efficiency of flat pattern at the same time. For the experimental jacket designs of a one-piece sleeve jacket and a two-piece sleeve jacket were selected among the entries of the designer Rubina for 2014 F/W Seoul Fashion Week. Designer brand Rubina usually produced clothes using draping and the designer brand company provided the experimental patterns for the study. We also had flat patterns of the same design and size specifications designed by a flat patternmaker who has 30 year-experience in flat pattern like Rubina. The test apparel jacket was made of 20's cotton yarns. Three models wore the jackets and evaluation on appearance fitness was conducted by 7 members in an expert panel group from August 10, 2015 to September 10, 2015. As a result of appearance fitness analysis on one-piece sleeve jacket, there were significant difference in 4 items among 17 items in terms of overall appearance. The appearance of jackets by draping had higher score than those using flat pattern. As for two-piece sleeve jacket, there were significant differences in 7 items among 17 items related to overall appearance. As for the items related to sleeve, 5 items out of 13 showed significant differences. Except for one item, appearance of jackets using draping had higher score than flat pattern. As for motion fitness, draping was evaluated to be more comfortable. Applying the items with high scores in appearance and motion fitness in draping to flat pattern, The study suggests a new jacket pattern development that would increase the satisfaction of consumers for future research.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.31-46
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• 2010

Fashion industry is faced with issues of raising the competitiveness of established designers recently. As well as the change of business system, the specialization of professionals in design team increases the needs of in-service training of fashion designers. But, the education programs of enterprise are generally focused on adaptability to the organization and harmony among men as an introduction level. Furthermore, there are few professional institutions that give an education to the working-level designers. Thus, this study aimed at development of specialized in-service training program that could educate established designers for more integrated thought to cope with rapid changes in the fashion field. Firstly, the theoretical study on the in-service training and changes of fashion environment had been studied through literature review. Then, the current state of in-service training of fashion enterprises and the courses for established designers in fashion institutions were analysed. Finally, a comprehensive framework of in-service training program for fashion designers has been established as a result of this study. The program was designed in accordance with the previous research which reached 4 different educational needs for in-service training: brand planning and management, understanding production, understanding practical fabrics & colors, computer program. The study went further to apply the program to each design group divided by career: new designer, junior designer, senior designer, design leader. This study also suggested evaluation process to confirm the effects.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.