• 커뮤니케이션디자인학연구
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• 제64권
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• pp.64-75
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• 2018

고가의 의류, 가방, 신발 등의 시장을 장악해온 명품 패션브랜드들이 최근 본격적으로 화장품 시장에 뛰어드는 행보를 보이고 있다. 본 연구는 명품 패션브랜드가 화장품브랜드로 확장을 진행하면서 자사의 브랜드 정체성을 화장품브랜드에 어떻게 표출하고 있는지, 화장품 패키지 디자인의 조형적 기호를 분석하고 준상징적 체계를 도출하는 시각적 정체성 분석 방식을 통해 살펴보고자 하였다. 따라서 본 연구에서는 최근 화장품브랜드로 명성이 높은 입생로랑과 아르마니 같은 패션 명품브랜드의 대표적 인기 제품군인 쿠션 팩트와 립틴트의 패키지 디자인의 시각기호학적 분석을 시도하였다. 연구분석 결과, 본 연구는 입생로랑과 아르마니 패키지의 조형적 요소가 표출하는 의미론적 자질들을 파악하였으며, 이 자질들이 입생로랑이 지향하는 '고전주의'적 정체성과 아르마니가 지향하는 '바로크'적 정체성의 추구를 드러내는 시각기호로서 활용되고 있음을 발견하였다. 이 연구결과를 토대로 본 연구는 입생로랑의 경우 패션브랜드로서의 브랜드 정체성을 화장품 브랜드의 시각적 정체성에 전이하지 못하고 있는 반면, 아르마니는 패션브랜드로서의 브랜드 정체성을 화장품 브랜드의 시각적 정체성에 효과적으로 전이하는 시각커뮤니케이션 전략을 활용하고 있음을 파악하였다. 이와 같은 두 브랜드의 서로 다른 결과를 통해 본 연구는 명품 패션브랜드들은 물론 국내 패션브랜드들도 화장품 시장으로 영역을 확장하는 과정에서 기존의 브랜드 정체성을 잘 파악하고, 이를 화장품 브랜드의 커뮤니케이션 전략에도 효과적으로 활용하고 있는지를 검토해봐야 할 필요가 있음을 제시하였다.

• 복식
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• 제66권1호
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• pp.13-27
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• 2016

There are differences in preference according to the brand signal explicitness when selecting fashion luxury brand, and the purpose of this study is to verify the moderating effects of self-construal and implicit theory in relation to those preferences. This study divided the experiment design into two $2{\times}2$ mixed design studies: Study 1 and Study 2. The study 1 was composed of the following factors: brand signal explicitness(subtle vs. explicit signal) and self-construal(independent vs. interdependent self-construal). Study 2 was composed of the following factors: brand signal explicitness( subtle vs. explicit signal) and Implicit theory(entity vs. incremental theorist). Convenience sampling was conducted to find the subjects of study 1 and study 2. Study 1 analyzed data from 172 women in Seoul, Gyeonggi-do and Busan who prefer luxury brand, and study 2 used data from 138 women. The results of this study are as follows. 1) Independent self-construal primed group was shown to prefer subtle signal product to explicit signal product, whereas interdependent self-construal priming group preferred explicit signal product to subtle signal product. 2) The entity theorist to prefer explicit signal product to subtle signal product. On the other hand, the incremental theorist did not show significant difference in the preference between subtle and explicit signal products. Therefore, the results of the present study shown the importance of understanding consumers through the difference depending on consumer inclination and psychology, recommending preferred luxury brand according to the inclination of the target customers, and establishing segmented marketing strategy to captivate consumers with these various characteristics.

• 마케팅과학연구
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• 제20권1호
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• pp.27-34
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• 2010

在过去的10年里，奢侈品销售已经有了显著的增长. 在2007年, 奢侈品消费额已经超过1300亿美元. 在奢侈品产业中, 有超过一半的利润来自平均收入显著增长, 对奢侈品的需求快速增加的亚洲. 在这个区域购买奢侈品牌已经成为一个有趣的社会现象并为这些公司带来利润. 作为新兴的发达国家, 韩国是亚洲最有吸引力的奢侈品市场之一. 如今, 共有120个奢侈时装品牌进入了韩国市场. 这些品牌主要集中在首尔的奢侈区域, 因此竞争也十分激烈. 本文的目的是: (1) 识别奢侈品牌态度的要素. (2) 测试奢侈品牌态度对顾客资产的影响. (3) 测定奢侈品牌态度对顾客终身价值的影响 (4) 深入研究顾客资产对顾客终身价值的影响. 以前的研究已经测定物质主义, 社会需要, 经验需要, 独特需要, 适应性和时尚卷入是对奢侈品牌态度的组成要素. Richins and Dowson (1992) 认为物质主义对与产品质量相关的购买行为有影响. Nueno and Quelch (1998) 写到对奢侈品牌的拥有传递着和所有者社会地位相关的信息. 表达着一种成功和声望的形象, 是购买行为的一个要素. 经验需要被认为是消费的一个重要方面. 尤其是发展满足消费者需求的新产品. 由于奢侈品被定义为相对稀少的产品, 对这些类型产品的拥有满足消费者对独特性的需要. 本研究中, 价值资产, 关系资产和品牌资产被测试为顾客资产的驱动因素. 样本 (n=114) 是在韩国首尔的两所私立女子大学的本科生和研究生. 我们在2009年3月进行了自填式问卷调查来收集数据. 我们运用SPSS15.0来分析数据, 包括叙述性统计, 因子分析, 信赖度分析和回归分析. 通过数据分析我们得出一些结论, 首先, 经验需要和时尚卷入对参与者对奢侈品牌的态度有积极的影响. 第二, 对奢侈品牌的态度对品牌资产有积极影响. 紧随其后的是价值资产和关系资产. 但是我们没有发现奢侈品牌态度和顾客终身价值之间的显著关系. 最后, 关系资产积极影响顾客终身价值. 总而言之, 年轻消费者是重要的潜在消费群. 他们尝试不同的品牌到最终发现哪种品牌最适合自己. 奢侈品营销者使用有效的行销策略来吸引这些可获利的潜在消费者并使他们产生忠诚度并增加顾客资产和顾客终身价值.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2005년도 Joint International Conference
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• pp.46-47
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• 2005

• 패션비즈니스
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• 제27권6호
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• pp.110-123
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• 2023

As social distancing strengthened after the COVID-19 incident, people looked for things they could do alone. Additionally, as people have more financial resources, they purchase products they had previously considered purchasing, and the phenomenon of giving gifts to oneself has also appeared. Accordingly, this study analyzed fashion product reviews of KakaoTalk Gift, the service to exchange gift via SNS mobile app, to discover the phenomenon of self-gifting and the differences from interpersonal-gifting. For post-hoc data, in collected 18,354 pieces after excluding unnecessary data using a Python-based web crawling technique. The self-gifting behavior of KakaoTalk Gift different from the previous study for self-gift. Regardless of the gift-giving contexts, it determines that most self-gift products are material items. There are differences in product types and price levels when choosing gifts for others and oneself. As a self-gift, people typically buy luxury jewelry and branded bags/wallets to wear and show off. As interpersonal, among fashion products, people usually buy beauty products that reflect less personal tastes. When gift-giving to others, people buy products to appropriate prices to reduce the burden on both. When gift-giving to oneself, people buy wanted products regardless of the price. This study is significant because it suggests a new direction in self-gift research by limited online places to give gifts.

• 한국의류산업학회지
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• 제8권2호
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• pp.183-190
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• 2006

The purpose of this study was to analyze social, economic and cultural phenomena of the luxury brand in the viewpoint that the consumption system of the modern society stood for the sign consumption and the industrial production of difference as Baudrillard mentioned in the Consumer Society. The result was divided into the two subjects popularization and differentiation of luxury brand. Firstly the meaning of luxury brand was that the personal effects of consumption of king or aristocratic class who did not exist in the modern and were made into the selection and consumption-possible things of exchange value. The popularization of this sign was accelerated through TV drama. Secondly as differentiation strategy of luxury brand, was made by giving meaning to the life style concept of the upper class with advertisement and design, and also the logo of design was used as sign differentiated from people. Also the reason why the producer of the luxury brand gave meaning to such life style was that the awareness of the brand which people have consistently makes them consume more products. The consumption system of the modern society stood for the sign consumption, difference sign mark value which was the desire on a social meaning basis, not the consumption of things as used value. And the consumer could express his personality by selecting and consuming the product of luxury brand model made with this sign. Accordingly the distribution, purchase, sales and acquisition of the things with this difference sign were our verbal activity and linguistic code today, and it was the essential feature of the society, culture and economy of the consumer society.

• 문화기술의 융합
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• 제9권4호
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• pp.13-22
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• 2023

최근 들어 구찌, 생로랑, 루이뷔통과 같은 글로벌 명품 패션 브랜드들이 한국 현대 예술가들에게 특별한 관심을 보이고 적극적인 콜라보레이션 작업을 진행해오고 있다. 이것은 이전까지의 패션 브랜드의 협업 작업과 구별되는 새로운 변화라고 할 수 있다. 따라서 본 연구는 글로벌 명품 패션 브랜드와 한국 현대 예술가와의 콜라보레이션 사례를 조사하고, 그 유형과 특징을 분석함으로써 그 경향과 특징을 살펴보고 의미를 도출하였다. 그 결과 패션브랜드들은 다양한 장르의 한국예술작품의 특징을 브랜드 컨셉과 추구하는 가치와 융합하여 새로운 감성의 고부가가치의 상품을 창출하고, 패션 상품과 한국의 현대 예술 작품을 함께 미학적 측면에서 감상과 담론을 이끌어 낼 수 있는 장을 마련하고자 하였다는 점을 알 수 있었다. 또한 한국의 예술 문화적 정서를 활용하여 국내 고객들이 친근감을 가지고 브랜드 스토어를 방문할 수 있도록 마케팅의 측면에서도 협업을 활용한 것으로 나타났다. 본 연구 결과를 바탕으로 현대 패션 산업 발전에 도움이 될 수 있는 패션과 예술의 다양한 콜라보레이션을 위한 창의적인 콘텐츠 개발을 위한 기초자료를 제공하고자 한다.

• 문화기술의 융합
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• 제9권1호
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• pp.361-372
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• 2023

본 연구는 명품 패션 스타트업 플랫폼인 발란·트렌비·머스트잇 3사를 연구대상으로 선정하여, 각 3사의 온라인 사이트에서 진행하고 있는 마케팅 믹스 전략을 비교, 분석하는데 목적이 있으며, 우리의 연구결과는 다음과 같다. 먼저, 명품 플랫폼 3사의 상품전략은 하이엔드 브랜드부터 SPA 브랜드 까지의 상품구성과 여성복, 남성복 이외에 키즈, 홈리빙 등과 같은 상품구성이 특징이며 이외에도 중고상품, 예술품등 에 이르는 상품군의 다양화가 특징으로 보여진다. 또한, 명품플랫폼의 가격전략은 동일제품이어도 명품 플랫폼에 따라 가격 차이를 보이고 있는데, 이는 3사 플랫폼이 모두 병행수입과 구매대행의 유통구조로 운영하며, 이러한 플랫폼의 유통 운영방식 차이에 따라 플랫폼이 직접 마진을 결정하는 구조로 보여진다. 따라서 각 플랫폼마다 가격 경쟁력의 우위를 확보하기 위해 백화점 등 오프라인 매장에 없는 할인쿠폰, 적립금 등을 통해 오프라인 매장보다 저렴한 명품구매의 기회를 제공하고 있었다. 마지막으로 명품 플랫폼 3사의 판매촉진전략은 가격할인, 할인쿠폰, 상시세일 등의 가격할인 판촉과 회원가입/리뷰 적립금, 이벤트, 상품정보, 배송서비스, 사회공헌활동, SNS활용 등의 가치부가적 판매촉진을 활용하고 있었다.

• 한국의상디자인학회지
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• 제21권2호
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• 한국의류학회지
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• 제30권9_10호
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.