• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.83-98
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• 2022

This study identified the characteristics of the subculture aspects that led to the success of luxury brands and analyzed the implications of those aspects. For this, semantic analysis in a socio-cultural context was performed. Additionally, this study took the theoretical background, the change in subculture and post-subculture, the digital youth generation, and the change in the meaning of subculture style into consideration. The subculture style aspect and its meaning in luxury fashion brands were analyzed as follows: First, there are challenges that betray the legitimacy or values of luxury brands. Through this, the brand gained recognition and increased sales, and the designer gained a reputation as an innovative creative director. It can be seen that more successful branding was promoted by securing a more subcultured fandom. Second, by combining subculture image fragments, these brands cater to the diverse tastes of a myriad of subcultures. This maximizes commercial profits. Third, most promotional marketing activities are collaborative and done digitally, which allows for a wider customer base, but the difference is in digital capabilities. Limited editions or application use on social networks can act as another driver. It is said that the distinction in high-priced luxury brands is not only driven by economic power but also by sub-cultural capital and digital ability.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• Journal of the Korean Home Economics Association
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• v.28 no.4
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• pp.177-189
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• 1990

The purpose of this study were to measure the body cathexis and the characteristics of middle-aged women groups segmented by their fashion orientation. Self-administered questionaire method was used. Seven demographic variables, 9 self-images, body cathexis were included as independent variables. Fashion orientation developed by Gutman and Mills was used. Data was collected from 369 Middle-aged women in Chonbuk Province. Frequencies, Percentages, means, standard deviation were caculated. ANOVA, cluster analysis, and discriminant analysis were used for data analysis. The results were as follows: 1. The body cathexis of the subjects were lower than capital city and increased according to age. 2. The self-image of the subjects were down-to-earth, modern, conventional, playing it safe, confident, stable, reserved and blending out into a crowd. The subjects with the self-image of being more sophisticated, confident, creative, stood out in a crowd, or complicated life style had higher body cathexis. 3. When the subjects were divided into segmentations according to their fashion orientation by cluster analysis, the best suitable number of groups was seven. The characteristics of seven groups were: *Fashion negatives showed low levels of fashion leadership and fashion interest, and medium level of importance of being well-dressed, and high level of antifashion attitudes. *Fashion neutrals showed medium levels of fashion leadership, fashion interest, and importnace of being-well dressed, and low level of antifashion attitudes. *Fashion uninvolveds showed low levels of fashion leadership, fashion interest, and antifashion attitudes. *Fashion followers showed high levels of fashion interest and importance of being well dressed, but low levels of fashion leadership and antifashion attitudes. *Fashion independents showed a littel bit high levels of fashion leadership, fashion interest, and importance fo being well-dressed, but low level of antifashion attitudes. *Fashion rejectors showed low levels of fashion leadership, fashion interest, and importance of being well-dressed, but high level of antifashion attitudes. 4. The seven groups segemented by their fashion orientation showed significant differences according to the educational levels, employment status, and total monthly income. Fashion leaders and fashion independents had higher educational level and monthly income, and involved more women with jobs. 5. Fashion leaders had self-image of being most sophisticated modern, diffenrent, creative, sociable, stood out in a crowd, and complicated life style. Fashion rejectors had self-image of being most down-to-earth, traditional, conventional, stable, reserved, blend into a crowd, and simplified life style. 6. The most effective variables among body cathexis, demographic variabls and self-images in discirminating fashion oreintation group differences were different-conventional, creativestable, and employment status. The discriminating power of above variables were high in very low in discriminating fashion negatives, fashion neutrals, and fashion independents, and the total discriminating power of these variables was 32.25%.

• Journal of Fashion Business
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• v.22 no.4
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• Science of Emotion and Sensibility
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• v.27 no.1
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• pp.81-92
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• 2024

This study analyzed augmented reality (AR) technology use in the fashion industry by classifying them based on product, wearer, space, purpose, and use. In this study, 76 cases of AR technology use in the fashion industry that were analyzed in domestic and foreign portals (Google, Naver, etc.) and research articles were collected and analyzed. The study found that in AR technology cases, the dimensions of the product, wearer, and space were utilized in various ways, including real, virtual, and their combination. AR technology was used diversely and creatively in design and product development, marketing and publicity, fashion shows, try-ons, online and offline sales and distribution, etc. Through AR technology, the categories of fashion products, concept of fashion shows, try-on methods, marketing and promotional tools, and sales tools are expanded more creatively from the existing framework. For inclusive growth within the fashion industry in the future, the national government, local governments, and large corporations should develop measures in bridging the digital gap, such as the use of AR technology according to technological readiness, capital, and age.

• KDI Journal of Economic Policy
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• v.12 no.2
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• pp.121-134
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• 1990

This paper examines the redistributive potential of capital taxations within the two-class overlapping generations model, where only capitalists are intergenerationally linked through heritable capital stocks. In particular, the dynamic welfare incidence of two different capital taxations is examined; first a capital income tax levied uniformly on interest earnings, and second, an estate tax levied on the intergenerational transfers of capital stock within the capitalists' families. Redistributive effects are measured by examining how the permanent and unanticipated changes in proportional capital income tax and estate tax rates affect workers' welfare when the proceeds in each period are distributed, in a lump-sum fashion, among young workers. It is shown that, except for in the short run, both the capital taxes are ineffective and may actually lower the workers' steady state welfare through the shifting of tax burden toward workers from capitalists. Differential incidence analysis shows that redistributive potential is diminished further when the lump-sum transfers are financed by the estate tax rather than by the capital income tax. Although the model examined in this paper is based on simple and strong assumptions, this study suggests that redistributive policy using the capital taxations may only have distortionary effects in the long run, without improving workers' welfare, by incurring dead-weight loss unless additional fiscal measures are implemented to increase the investment incentives.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.206-216
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• 2022

This study sought to examine the sustainability criteria found in the global sourcing practices of global fashion retailers. Sustainable supply chain management, with a particular focus on the sustainability criteria of global sourcing, was analyzed. This qualitative study was based on a focus group interview and corporate social responsibility (CSR) annual reports. Eight master categories, 18 middle categories, and 37 bottom categories were extracted. The key categories and their middle categories were as follows: (1) Social compliance (working conditions, employment, safety); (2) Environment concerns (environmental pollution management, eco-friendly production, supply chain environment); (3) Energy efficiency (energy saving program, store environment); (4) Consumer protection (restricted substances management, consumer product safety improvement); (5) Management system (code of conduct, triangle audit system); (6) Community social activities (local community service, voluntary activities, charitable activities); (7) External stakeholder engagement (media & non-governmental organization management, maintenance of relationship with local authority); (8) Brand protection (respect for companies' intellectual property). The findings of this study offer academically significant insights into the sustainability criteria that can be encountered by companies under diverse global sourcing scenarios, revealing that global sourcing by fashion retailers is not merely a means of reducing costs, but a way of generating new jobs and making a social contribution to developing countries. The study's findings also have practical significance, offering guidelines for general CSR activities in the global sourcing process.

• Journal of Fashion Business
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• v.21 no.1
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• pp.1-11
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• 2017

This study investigated the effect of brand history, congruity between country of origin and conspicuous consumption of fashion brand, based on the evaluation of customers. The factorial design was constructed as a 3-way mixed design: 2(brand history: presented vs not presented) ${\times}$ 2(congruity between Country of Brand(COB) and Country of Manufacture (COM): congruent vs incongruent) ${\times}$ 2(conspicuous consumption: high vs low). A total of 302 men and women aged above 30 and living in Seoul or within the capital area, were enrolled as subjects. Of these, 26 insincere responses were excluded and a final total of 276 responses were used in the analysis. The statistical analysis included reliability analysis, three-way ANOVA, and simple interaction effect analysis with SPSS 18.0 statistics. Our results indicate that brand history, congruity between COB and COM, and conspicuous consumption had significant effect on the fashion brand preference of consumers. Furthermore, presenting the brand history resulted in higher brand preference. Second, the brand history and conspicuous consumption had a significant interaction effect on brand preference. Consumers with higher conspicuous consumption showed significantly higher brand preference than those with lower conspicuous consumption. Third, congruity between COB and COM and conspicuous consumption had a significant interaction effect on brand preference. However, when COB and COM were dissimilar no significant effect of conspicuous consumption on brand preference was observed.

• Journal of Fashion Business
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• v.13 no.2
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• pp.87-99
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• 2009

The purpose of this study is to analyse the successful modernization strategy, and the difference between original Burberry and Burberry Prosum design. This will help in providing the fundamental information to Korean luxury fashion brands. Burberry, in particular, is rated as the most popular luxury brand in Korean fashion market. This brand has also rated 5th in sale worldwide and 1st in Korea in 2002, and was continuously been rated in 10th for the last 5 years. Related articles, fashion magazines, fashion web-site were used in this analysis, and the method was theoretical and case study. The results are divided into two categories of internal and external factors and two design patterns of check pattern and trench coat were observed. First of all, internal factor in Burberry is that they have scouted a new CEO and quickly changed their image with famous British models for the purpose of marketing strategies. They have also moved their main shop in London to Bond street, and opened shops in every country's capital cities. They were successful in achieving this by using celebrity marketing strategies with many famous celebrities. Secondly, external factor was that they have hired a designer named Christoper Bailey and this highlighted and enhanced the check pattern and trench coat. As a results, more generalized and diverse design items were presented and accessory line was enhanced, creating a much more younger image. This in turn attracted more younger customers. To sum up, original Burberry focused on classic designs, however Burberry Prosum focused on transforming traditional Burberry design into avant-garde and young. In other words, the reason for the success of this brand is highly dependent on its marketing strategies in which its uniqueness of schizophrenic cloche has appropriately represented and used in design.