• 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 Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.405-413
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• 2021

In this study, based on the theory of use and satisfaction, the motives of consumers who use Instagram accounts for luxury fashion brands were classified and the effect of the flow state experienced according to the motives on the purchase intention and the enjoyment was empirically studied. As a result of the analysis, the conclusions obtained through this study can be summarized as follows. First, it was found that the motive for using Instagram, a luxury fashion brand, had a significant positive effect on flow, followed by social interaction motive, informational motive, and enjoyment motive. Among the motivations for use, it was confirmed that the motivation for social interaction had the greatest influence on flow. Second, when using the luxury fashion brand Instagram account, the state of consumer flow induces positive emotions such as pleasure, which has a positive effect on purchase intention. Third, age, which is a characteristic of luxury fashion brand Instagram account users, had a significant positive moderating effect on the relationship between informational motives and flow, and had a significant negative effect with playful motives. Through the results of this study, we contributed to the flow of previous related studies by empirically showing the dynamics of consumer psychology related to the use of luxury Instagram accounts.

• Journal of Fashion Business
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• v.9 no.1
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• pp.120-136
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• 2005

The purpose of this study is to analyze consumers' perceived risk which is shown in the process of purchase phase and consumption phase for the counterfeits of fashion luxury brands and to analyze the interrelationship of each type of perceived risk. The research method of the study used a qualitative approach. 6 informants were selected and then an in-depth interview was held with them. Through this process the data on the perceived risk for counterfeits were collected and analyzed. The results of the study are as follows; The perceived level of psychological risk including counterfeits exposure was extremely high; besides, economic risk and performance risk were also perceived. On the contrary, the perceived level of social risk and fashionability loss were relatively low. The risk perception for counterfeits appeared not only on the purchase phase but also on the consumption phase, and when perceived risk existed on the consumption phase, it had an influence on the level of perceived risk on the next purchase phase. However the psychological risk was continuously perceived on both purchase and consumption phase, even if it did not exist on the consumption phase. Psychological risk, economic risk and performance risk were not independent but interdependent. Moreover, the entire level of perceived risk could be controlled by reducing the level of other perceived risks when a certain type of risk was highly perceived.

• Fashion & Textile Research Journal
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• v.24 no.4
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• pp.386-398
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• 2022

This study was conducted to corroborate the factors that influence consumer characteristics and technology acceptance on online luxury platforms, which are rapidly emerging as distribution channels for luxury brands. To this end, the relationship between the degree of technology acceptance and behavioral intention of fashion consumers on online luxury platforms and the effect on specific factors such as age and gender was investigated to see if there was a difference in behavior and use behavior. A survey was conducted on Korean consumers between the age of 20 and 40 who have used online luxury platforms and then, a statistical analysis was conducted. As a result of the study, performance expectancy and facilitating conditions, hedonic motivation, price value, and habit were found to have a significant effect on platform behavioral intention, but effort expectancy and social influence did not have a significant effect. Additionally, both facilitating conditions and habit were found to have a directly significant effect on the platform use behavior, and it was confirmed that the platform behavior intention also had a significant effect on the use behavior. As a result of confirming the moderating effect of gender and age, there was no difference based on gender, but only the relationship between price value and behavioral intention was found to have a moderating effect. It is hoped that domestic online luxury platforms will grow into channels with distinct characteristics and continue to develop in the luxury market by utilizing specific affect factors of this study.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.91-105
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• 2014

As luxury goods market has expanded and has become more affordable, luxury consumption value has become more diversified. The purpose of this study is to classify visible characteristics of luxury consumption by the degree of logo clarity, and to explain this classification in relation to personal luxury consumption values. Also, the study utilized the concept of cultural capital, in addition to the concept of economic capital, in order to aid understanding of current new luxury consumption trend and give directions on brand signal strategies for luxury brands. In order to develop a survey that could measure an individual's cultural capital, focus group interviews, each composed of 5 women in their twenties and thirties, were conducted. Then, the survey was conducted on 230 females residing in Seoul who have purchased at least one product from a luxury brand within a year. The results suggest that luxury consumption can be explained by 'self-oriented value' and 'others-oriented value' as suggested in precedent studies. However, no significant difference was found between economic capital and these two luxury consumption values. However, the more cultural capital one possesses, the more one is likely to pursue 'self-oriented consumption value'. In studying the correlation between luxury consumption values and preference for brand signal clarity, respondents with 'self-oriented consumption value' has shown low preference towards highly visible brand logo when design and quality were equivalent. Also, respondents with 'other-oriented consumption value' has shown high preference towards highly visible brand logo.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.361-372
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• 2023

In this study, three luxury fashion start-up platforms, Balaan, Trenbe, and Must-it, were selected as research subjects. The purpose of this study is to compare and analyze the marketing mix strategies of each of the three online sites. The results of our study are as follows. First of all, the product strategies of the three luxury platform companies are characterized by the composition of products from high-end brands to SPA brands, and product composition such as kids, home living, Used goods and art in addition to women's and men's wear. In addition, the pricing strategies of luxury platforms show price differences depending on the luxury platform even for the same product. It is shown as a structure that directly determines margin. Therefore, in order to secure an edge in price competitiveness, each platform provided discount coupons and savings that are not available in offline stores such as department stores, providing opportunities to purchase luxury goods at a lower price than offline stores.Lastly, the sales promotion strategies of the three luxury platform companies was used include price discount promotions such as price discounts, discount coupons, and regular sales, and value-added sales such as membership registration/review points, events, product information, delivery services, social contribution activities, and SNS utilization.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1418-1430
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• 2007

To strength global competitivenss and raise reputation in times of globalization, the practical use and development of traditional culture which must be discriminated against other countries wedging their ways. The purpose of this study is, 1. Make the mutual relationship between globalization of Korean traditional clothing(Hanbok) and the strean of the international fashion clear. 2. Deduce a common primary fact through commonness of international great products and a success of globalization in Asian nations 3. Suggest a scheme for globalization of Korean traditional clothing from the flank of a design and a policy on the basis of analysis. The consequence of this study is, 1. In the situation that modern international fashion focused Re-Orienting Fashion, Korean traditional clothing-Hanbok is considered as the most priceless value of application for an effective design sauce to differentiate.2. The common point between International leading fashion brands and success of globalization of each Asian nation is to pursuit an effective marketing strategy through a proper harmony with a differentiated 'uniqueness' which is motivated from their tradition, a sense of modern trend reading, and a 'generality' which fits in their lige styles. In consequence, we must develop typical design factors to be connected directly with Korean traditional image from the flank of design, For this, the typical design factors need to be applied with grafting tradition and modern ideas, simplicity, convenience, fleshly senses, and youth.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.303-309
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• 2021

This study examined how consumers in their 20s and 30s perceive luxury goods, masstige brands, and counterfeits, which have high social value, and whether the propensity for conspicuous consumption and conformity can explain them. Consumers were classified based on the similarity of attitudes toward these brands and purchase intentions. The groups were compared on the sub-dimensions of conspicuous consumption and conformity. Clustering analysis identified four groups, and the MANOVA result confirmed the differences among the groups. Personality (F=4.282, p=.006) and brand orientation (F=23.178, p=.000) were positively related to luxury and masstige brands. Fashion orientation (F=8.376, p=.000) was high for both groups, which likes luxury and masstige brands very much, and which likes counterfeits. High-price orientation did not make any significant difference among the groups. Conformity (F=3.537, p=.015) was high for all the groups, except for the group that liked luxury and masstige brands and did not like counterfeits. This study comprehensively examined the attitudes and purchase intentions of luxury and masstige brands and their counterfeits and can be the groundwork for further research on brand categorization.

• Journal of Fashion Business
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• v.9 no.3
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• pp.8-21
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• 2005

The purpose at this study was to analyze and to position the clothing images at women's formal wear brands carried by at least two department stores in Daejon, for providing data for a basic marketing strategy for fashion manufacturers and distributors. The results tram the study were as tallows; The brand that showed the highest classic image was 'BCBG'(83.6%), the brand that showed the highest feminine image was 'Obzee' (80.2%), the brand that showed the highest character image was 'Doho' (84.1%), and the brand that showed the highest mannish image was 'F.Station' (64.1%). On the brands image positioning map, brands, such as 'Deco', 'Mine', 'Time', and 'Anne Klein', lying on or near the point of intersection (where the vertical and horizontal axes meet) showed 4 types. They were 'smart & chic cluster', 'charming & luxury cluster', 'character elegance cluster', and 'sportive elegance cluster' that showed compound images. These clusters would be differentiated tram young casual lines by emphasizing the brands' shape and cut, higher quality fabrics and materials, and elegant and graceful colors. Analysis of target ages and tweed jacket prices for brands carried by at least two department stores showed that the target was between 23 and 50, and that the prices range from 198,000 won to 460,000 won.

• Journal of Fashion Business
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• v.18 no.4
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.