• Korean Business Review
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• v.15
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• pp.153-179
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• 2002

The purpose of this study is to explore the context dependencies of perceived product typicality and favorableness led by typicality. Major findings and their marketing implications are as follow. First of all, while the typicality effect were evident in simle choice sets which consist of typical product and atypical one, entrance of extreme atypical product eroded the favorableness toward typical product. This implies that competitive advantage of pioneering typical brand can not be sustained when choice set is enlarged with entrance of distinctive atypical brands. Secondly, adding attractive and unattractive common attributes to all the products in choice set reduced the difference among perceived typicality of alternative brands. But added attractive common feature was analyzed to enhance favorableness of both typical brand and extreme atypical product. This finding implies that brands should have distinctive identity to be benefited from competitive adding features among brands with the evolution of market. Finally, when consumers expect to provide the explanation and justification for their evaluations and choices to others, they are shown to prefer and choose typical product which is effective to explain their reasons and to persuade others for their choice. This can be interpreted as consumers favor and choose conventional typical alternatives when they should justify their decision to others as with symbolic and expressive products and public and organizational buying.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Journal of Distribution Science
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• v.14 no.4
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• pp.93-101
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• 2016

Purpose - As more consumers pursue high quality products at reasonable prices, Korean retail companies are increasing investment in expanding their outlet stores. Despite the growing importance of the outlet business, there has been very little empirical research on consumers' outlet shopping behaviors. This study aimed to investigate the relationships between consumers' perceived product value (performance quality, value for money, and social value) of outlet stores and overall shopping satisfaction and the effect of shopping satisfaction on outlet store loyalty. Research design, data and methodology - The authors developed a structural model in which performance quality, value for money, and social value of products are proposed to affect overall outlet shopping satisfaction, thus increasing customer loyalty. To analyze the research model, data were collected from 88 shoppers at suburban outlets. SPSS 21.0 and AMOS 21.0 were utilized to test the hypotheses. The unidimensionality of each construct was supported from the results of the reliability test with Cronbach's α and confirmatory factor analyses. Correlation analysis was performed and the results warranted the nomological validity of the measures. The fit statistics of the overall model analysis demonstrated an acceptable fit(X²(₁₆₁)=171.651, p=.000; X²/df=1.546; GFI=.821, NFI=.879, TLI=.942, CFI=.953, RMR=.035, RMSEA=.079). Results - The findings are as follows. First, consumers' perceived value of product performance quality had a significant positive effect on overall outlet shopping satisfaction. Consumers, who evaluate performance quality of the product more positively, tend to express stronger satisfaction and happiness about outlet shopping experience. Second, consumers' perceived social value of outlet products influenced their overall satisfaction significantly. Consumers who believe that products of outlet stores enhance self-concepts are more likely to satisfy with outlet shopping experience. However, consumers' perception of outlet products on value for money was not found to significantly influence overall shopping satisfaction. Finally, overall shopping satisfaction had a significant and positive influence on loyalty. Conclusions - While outlet retailers have traditionally focused on promoting competitively priced merchandise, the results of this study suggest that customers' overall satisfaction with outlet shopping is influenced more by the non-price-related product values. In the context of an outlet shopping environment, performance quality and social value of the products were found to be more critical predictors of customer overall satisfaction. Therefore, it would not be efficient for outlet retailers to highlight economic value of their merchandise. Instead, they need to investigate the performance quality of the products regularly and try to deliver quality guaranteed goods to enhance customer satisfaction. Also, outlet retailers should differentiate their businesses by carrying more unique and prestigious brands and emphasize higher social value and symbolic meanings of their products. As competition among outlet retailers are getting fierce, retail companies need to focus on strengthening customer loyalty with a long-term perspective. With a deeper understanding of the relationship between consumers' perceived product values and shopping satisfaction, outlet retailers will be able to develop customer loyalty strategies effectively and to achieve competitive advantage.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.721-735
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• 2011

This study: 1) identifies differences in consumers' perceived similarity of extended products to their parent product in terms of brand attributes, 2) identifies the influence of the perceived similarity on consumer's attitude toward and purchase intention of extended products (i.e., brand extension effect), and 3) examines the moderating effect of Brand Relationship Quality (BRQ) on brand extension effects. A survey questionnaire was distributed to a convenience sample of individuals aged 20-39. A total of 576 valid responses were used for the final analysis. The results showed that: 1) the consumers perceived more similarity in the extended products when the extended products maintain more consistent attributes with their parent product, 2) the higher the perceived similarity was then the higher the brand extension effect, and 3) brand relationship quality moderated the influence of perceived similarity on attitude and purchase intention. When consumers build a high relationship quality with a brand, then the brand extension effect is likely to be high regardless of the perceived similarity of the extended products. This study consequently has its own contribution in that it empirically examined the brand extension effect in the fashion field and evidenced the role of BRQ in brand extension.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• International Journal of Costume and Fashion
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• v.4
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• pp.47-61
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• 2004

This study analyzed the buying patterns of American and Korean female college students in terms of criteria for clothing selection； store preferences； criteria for store selection； fashion information sources； expressions of customer dissatisfaction； purchasing frequency and motivations for purchasing clothes. The study was implemented through self-administered questionnaires which were back translated for validity. The samples consisted of 730 female college students majoring in the fields related to clothing and textiles： 310 U.S. and 412 Korean students. Likert scales were used for most measures with 1＝never or very unimportant and 5＝always or very important. Data were analyzed by factor analysis, analysis of covariance, Duncans multiple comparison, and t-test. Results are as follows： 1) Design factor was the most important criteria in clothing selection with no differences between country groups. There were, however, significant differences for psychological exhibition factors, practical and economic factors. 2) Both groups preferred specialty and department stores, with department stores more popular in Korea. 3) Merchandise was the most important store selection criterion and fashion magazines and self-experience were rated as the most important information sources for the both groups. 4) Korean group expressed their dissatisfaction with and observable problem with a product before purchase more often than U.S. group, but the U.S. group was more vocal about color loss or shrinkage after care procedures. 5) Some clear differences between the two countries emerged. Marketers targeting American consumers should pay more attention to practicality and service； to Korean consumers more symbolic meaning of products.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.98-112
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• 2007

The purpose of this study was to identify the differences in store evaluative criteria, clothing evaluative criteria, and purchasing behavior for casual wear among groups with different types of shopping orientation. Data were collected from 175 female and 169 male college students living in Beijing, and analysed by factor analysis, cluster analysis, ANDVA, Duncan test, crosstabulation analysis, and frequency analysis. Chinese college students were classified into four groups by their shopping orientations; fashion-pursuit type, individuality-pursuit type, practical type, and apathetic type. Significant differences were found in store evaluative criteria, clothing evaluative criteria, purchasing behaviors, and demographic characteristics. The fashion-pursuit type and individuality-pursuit type were more influenced by store location and service, product attributes, and fashion. They purchased more frequently and spent more money. Esthetic clothing evaluative criteria were considered more important by the individuality-pursuit type than the others, and symbolic clothing evaluative criteria by the fashion-pursuit type.

• Journal of Fashion Business
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• v.1 no.4
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• pp.34-48
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• 1997

Dresses of the 1950s and 60s when the range and changes of fashion were wide and heavy were closely related with various styles of that time's architecture from the form, use of material, structure to the color. In this, study, characteristics of formalism and brutalism, main architectural streams of that period, such as line, structure, function, material, texture and color are analyzed in detail and these characteristics and those of dress are compared and analyzed to see if there are common aesthetic senses between them. It is particularly noteworthy that at that time formalistic architecture represented joy and abundance through enriched creation of appearance and flowing, symbolic linear beauty while the brutalistic produced young and vivid liveliness through functional, reasonable and moderate beauty, and this young and joyful atmosphere coincided exactly with frank, lively aesthetic senses of the young generation's fashion. Therefore, we can see common significance in the following fact ; architectural modes and fashion art of the 1950s and 60s were the result of more humane and enriched expressions from economical growth, and also product of that time's desire to adapt itself realistically to the rapid, complicated pop culture resulted from mass production.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.972-980
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• 2009

This study was aimed to develop ume flower image into a competitive fashion culture product image by reinterpreting the image in modern terms, manufacturing patterns and applying them to various items. In terms of method, ume flower petal was used as a motive and developed into a pattern, using Adobe Illustrator 10, a computer design program. Based on the symbolic image and realist form of ume flower, three new basic motives of new figurative image were set using form omission, simplification, overlapping, repetition and graphic elements. Each motive developed transformed patterns through the change, transformation, combination of colors. The repetitive unit of each motive set expressed geometrical patterns and combination of flower patterns using pattern repetition and $45^{\circ}$ repetition technique in combination with the check arrangement using quadrangle, and set the direction of design that would fit for each item of fashion culture products. Also, consistency and practicality were sought in the goods planning composition of each item by applying motive pattern results to the fashion culture goods, such as neckties, scarves, T-shirts that can be consumed in everyday life. It seems that more creative culture goods including ume flowers will be developed by seeing our own cultural elements as well as flower patterns like ume flower with modern trends.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.144-156
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• 2015

This research aims to develop textile patterns using mythical motives based on Buldoje in the Jeju myth. this textile design is not only decoration effect by filling the space, but also plays the original role of a pattern by expressing its symbolic meaning. The research methods are as follows: 1) Using integral analysis on materials related to the myth of Jeju and Gime used in Buldoje Gut, where Halmangbonpuli story is performed to set formative elements for textile design and their meanings; 2) Designing motive by composing formative elements; 3) Coloring properly; and 4) Layout motives. Adobe CS5 (Photoshop, Illustrator) and TexPro, a design CAD program, were used for textile design. Motives were combined in a various ways. Two-directional, four-directional, set, rotating, toss layout techniques, which are frequently used in apparel design and able to reduce cloth use, were used in developing patterns. Coloring methods including tone-in-tone and Faux camaieu were used to deliver coherence and soft effects. Developed textile design symbolizes the desire for the conception of a child, birth, and health, so it is made on baby clothes. In doing so, the plan for development of a fashion-cultural product applying Jeju myth symbol is suggested.