Fashion Granfluencers as a Cultural Intermediary in Fashion and Style -A Case Study on Iris Apfel-

Syachfitrianti Gadis Nadia,Setiawardhani Shaffira Dewi,김세진 한국의류학회 2022 한국의류학회지 Vol.46 No.6

This study investigated the role of fashion granfluencers as cultural intermediaries in the present digital era. The concept of fashion granfluencer as cultural intermediaries and their fashion style characteristics were defined and examined. The literature on cultural intermediaries, social media, and seniors in the context of fashion was reviewed. Primarily, three characteristics of cultural intermediaries‒interactive communication, nonconformist attitude, and aesthetic disposition‒were identified and used as analytical variables in this study. Through netnography, 1,452 Instagram posts from the renowned fashion granfluencer Iris Apfel (@iris.apfel) were examined. This study presented Iris as a fashion granfluencer and a senior professional, who uses fashion to express herself and define her identity. As a cultural mediator, she contributes to revitalizing the cultural economy and creating cultural products. Iris Apfel' fashion and style embody her digital persona. Her engagement in fashion activities‒producing fashion content or attending fashion events‒mediates the relationship between fashion producers and fashion consumers, thereby promoting the aesthetic value of fashion.

패션컬렉션에 나타난 네크리스의 조형적 특성

배정후 ( Jung Who Bae ),이경희 ( Kyung Hee Lee ) 한국의류산업학회 2011 한국의류산업학회지 Vol.13 No.4

Jewelry has recognized as a part of independent formative arts of fashion with the change modern man`s cognition for the fashion. It is a great important section to express fashion image. So, many corporations design and develop the jewelry by themselves to maxmize their fashion image. Among the so many kinds of jewelry, especially the necklace is located beneath the face and linked as a part of fashion, so it frequently has showed in Fashion Collection. Like this Fashion and jewelry enact each other and share their esthetic features but, it is insufficient the study of fashion linked with the jewelry. In this study, we defined the words which is using confusedly according to jewelry forms what researched by others. In addition, we tend to study the effect of that the form, hue and character of materials of necklace that is expressed in fashion collection influence fashion image. The method of this study is comprised with precedent studies and analysis of necklace photos in fashion collection. For the analysis of data, we implement content analysis and statistical analysis using SPAW Statistics 18(frequency analysis, percentage, cross-tabulations, X2-test). Because the hue and the form of necklace take a great role to make fashion image with the sense of its eyesight, its effective coordination go up the delicate feelings with the form, hue and quality of the fashion. Especially, the hue is the essential element of formative characteristics to express visual image. The necklace had coordinated more frequently in S/S than F/W, it means that more light and simple fashion let ornamental beauty could express by the necklace. So, it is very effective things that we predict the trend of fashion, then, coordinate with well-matched necklace.

로맨틱 JEAN 패션디자인 연구

정은선,김정혜 한국니트디자인학회 2008 패션과 니트 Vol.6 No.1

Fashion is a cultural code most sensitively demonstrating movements in changing society; the jean fashion has grown not only in comfortable and functional everyday clothing but also in attractive high fashion; a decorative and feminine romantic style of the jean fashion has been remarkably developed in the 21st century. In designing the jean fashion by introducing aesthetic properties of the romantic fashion, this study developed and used various kinds of jean using flounce, ruffle, unraveling, taping, stitches, and cubic flower embroidery designs. Silhouettes and details were expressed in a modern and feminine image applying the line of corsets. On this basis, an attempt was made to present a method to expand expressions of the jean fashion and develop designs in pursuit of characterization and diversification. The purpose of this study is to develop materials to emphasize expressions of a new fashion and creators' individuality to expand the area of material expression and create styles for a new romantic jean fashion design. For this purpose, prior literature and researches were reviewed for the concept and features of the romantic fashion, properties of the romantic fashion, and the concept, history, kinds, and expressions of the jean fashion, along with collection of photo data from Internet websites and collection magazines to perform case analysis of the modern romantic fashion design and jean-using designs in the modern fashion. On this basis, eight suites of jean clothes were manufactured by introducing a romantic fashion. This study obtained the following conclusions. First, theoretical consideration of the romantic jean fashion demonstrated that it was development of materials and creation of creative designs which exerted great effects on designs and played a key role in the modern fashion. It is jean which is being used in various classes, regardless of age, gender, or rank, in the modern fashion using various materials; various detail expressions and feminine images of the romantic jean fashion have been developed markedly in this 21st century. The property of the modern romantic fashion is found to be sensuality caused by decorativeness and exposure, which functions in combination with various expressions of jean to make the romantic jean fashion remarkable today. Second, it was possible to develop handcraft-like, artistic jean for a material of a work and give feminine and aesthetic expression of the romantic jean fashion. Silk chiffon dyed in the same color with jean was mixed and matched to emphasize the soft and delicate style of the romantic fashion; it was possible to express an ample sense of quality by various expressions including cubic flower embroideries, stitches, taping, and unraveling. Third, four colors―light blue, indigo blue, grey, and black―were used to express the jean fashion with elegant romantic images. Accent was given by color arrangement with light colors of unraveled strands and stitches; it was possible to emphasize cuts and the lines of flower motives with accentual colors, such as white, yellow, and red. Fourth, it was possible to create a jean fashion in a specific style by introducing cuts of corsets and applying decorative details, such as flounce, frill, lace-up, and hook & eye, in order to emphasize feminine and decorative features of the romantic fashion in the style of works Fashion is a cultural code most sensitively demonstrating movements in changing society; the jean fashion has grown not only in comfortable and functional everyday clothing but also in attractive high fashion; a decorative and feminine romantic style of the jean fashion has been remarkably developed in the 21st century. In designing the jean fashion by introducing aesthetic properties of the romantic fashion, this study developed and used various kinds of jean using flounce, ruffle, unraveling, taping, stitches, and cubic flower embroidery designs. Silhouettes and details were expressed in a modern and feminine image applying the line of corsets. On this basis, an attempt was made to present a method to expand expressions of the jean fashion and develop designs in pursuit of characterization and diversification. The purpose of this study is to develop materials to emphasize expressions of a new fashion and creators' individuality to expand the area of material expression and create styles for a new romantic jean fashion design. For this purpose, prior literature and researches were reviewed for the concept and features of the romantic fashion, properties of the romantic fashion, and the concept, history, kinds, and expressions of the jean fashion, along with collection of photo data from Internet websites and collection magazines to perform case analysis of the modern romantic fashion design and jean-using designs in the modern fashion. On this basis, eight suites of jean clothes were manufactured by introducing a romantic fashion. This study obtained the following conclusions. First, theoretical consideration of the romantic jean fashion demonstrated that it was development of materials and creation of creative designs which exerted great effects on designs and played a key role in the modern fashion. It is jean which is being used in various classes, regardless of age, gender, or rank, in the modern fashion using various materials; various detail expressions and feminine images of the romantic jean fashion have been developed markedly in this 21st century. The property of the modern romantic fashion is found to be sensuality caused by decorativeness and exposure, which functions in combination with various expressions of jean to make the romantic jean fashion remarkable today. Second, it was possible to develop handcraft-like, artistic jean for a material of a work and give feminine and aesthetic expression of the romantic jean fashion. Silk chiffon dyed in the same color with jean was mixed and matched to emphasize the soft and delicate style of the romantic fashion; it was possible to express an ample sense of quality by various expressions including cubic flower embroideries, stitches, taping, and unraveling. Third, four colors―light blue, indigo blue, grey, and black―were used to express the jean fashion with elegant romantic images. Accent was given by color arrangement with light colors of unraveled strands and stitches; it was possible to emphasize cuts and the lines of flower motives with accentual colors, such as white, yellow, and red. Fourth, it was possible to create a jean fashion in a specific style by introducing cuts of corsets and applying decorative details, such as flounce, frill, lace-up, and hook & eye, in order to emphasize feminine and decorative features of the romantic fashion in the style of works

글로벌 패션 산업 클러스터의 유형과 특성에 대한 연구

윤소정 ( So Jung Yun ),이하경 ( Ha Kyung Lee ) 한국의류학회 2019 한국의류학회지 Vol.43 No.4

This study analyzes global fashion clusters to provide insight for the domestic fashion market to form a competitive fashion cluster. We examine formation factors and operation types of the global fashion clusters to understand their characteristics. We also explore the effectiveness of each global fashion cluster by investigating the stage of development in fashion clusters. Fourteen cases of global fashion clusters are collected and analyzed. First, global fashion clusters show three types of formation and operation: self-formation, self-formation & government based development, and government, institute, and enterprise based formation & development. Second, the characteristics of global fashion clusters are based on functions related to space, learning, innovation, network, and knowledge. Third, there are four steps in the development stage of global fashion clusters: professional clusters, industrial clusters, learning clusters and innovative industrial clusters. In particular, innovative industrial clusters, the final stage of development, have high levels of effectiveness in terms of co-growth and collaboration among fashion-related businesses in fashion clusters. The results of this study can help guide the development of local fashion cluster in Korea.

현대 패션에 나타난 이미지 생성형 인공지능의 융합 사례와 의미

김선영(Kim, Sun Young) 한국전시산업융합연구원 2024 한국과학예술융합학회 Vol.42 No.2

패션 브랜드의 콜레보레이션 유형이 소비자 태도에 미치는 영향

이승희 ( Lee Seung Hee ),박정례 ( Park Jungley ) 한국디자인트렌드학회 2011 한국디자인포럼 Vol.30 No.-

Fashion images are considered more important in self-expressive clothing than function-based or low price clothing. Due to rapid changes in fashion trends and consumers` daily access to interactions that stimulate their emotions, modern fashion is becoming ever more complicated. Nowadays, fashion marketings tend to focus on pleasure of consumption with insight into human psychology and emotions. By visualizing consumers` emotions and tastes into colors, forms, and materials, the ultimate goal of the fashion industry is to generate sales. For example, in 1980s, more and more designers started to actively engage in collaborating art with fashion. Although there had been previous attempts to combine fashion with art, most of them were far from genuine collaboration. However, Marc Jacobs-a designer from New York-was the first person to set a new direction for it. It was the 1990s when fashion designers began to value additional utilities such as beauty, emotion, and uniqueness. Apart from simply trying to promote brand awareness, clothing is designed to provide emotional experiences through brands. Currently, domestic designers are creating various mixes of art and fashion. Thanks to their efforts, clothing is no longer perceived as commercial products. It is rather recognized as products with fashion images representing all kinds of uniqueness and emotions. In recent years, one of the most successful brands in collaboration is Louis Vuitton. This research aims at identifying consumer behaviors depending on collaboration types of clothing by examining the current situation and defining the relation between fashion and art. To this end, it analyzed consumer behaviors on shopping values, brand sensitivity, and purchase intention according to collaboration types. In this research, 3 factors have been extracted out of the 10 initial factors. Since consumer behaviors may differ in different age, income, and gender groups, follow-up research is needed. Research in this area must continue further in order to inspire the fashion industry to come up with more effective marketing strategies. The purpose of this research on modern fashion is to encourage emotional marketings in the fashion business to gain more competitiveness as a high-value added industry.

FASHION INDUSTRY AND CITY BRANDING AN ANALYSIS OF VISITORS PERCEPTION OF FLORENCE

Francesco Capone,Luciana Lazzeretti 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

In the international literature, there is an increasing attention on the analysis of the fashion city (Breward & Gilbert, 2006) and its implication on city branding and competitiveness (Jensen, 2005; Power & Hauge, 2008; Pasquinelli, 2010) and local identity (Bovone, 2006). Some examples are the study of Weller (2013) who examines the success of New Zealand’s designer fashion industry in the first years of the twenty-first century. Hauge, Malmberg & Power (2009) analyse the Swedish fashion cluster underlining that it is benefit from localisation economies, but it also follow rules of globalised industries. Rantisi (2004) examines how New York City was able to reinvent itself as a fashion capital. By tracing the origins of women's ready-to-wear in New York in the late nineteenth century and its consolidation in the Garment District by the early twentieth century. Jansson & Power (2010) approaches the ways in which fashion and design-based industrial actors contribute to creating images and myths that support global-city status. The Italian city of Milan is used as a case study to show how the city is an arena where different brand channels are negotiated and formed to service fashion and design branding. Fashion capitals usually have a broad mix of business, financial, entertainment, cultural and leisure activities and are internationally recognised for having a unique and strong identity (Gemperli, 2010) In this chart of fashion capital city, Italy ranked in a good position with Milan as capital fashion city. Milan emerged as a fashion capital city in 1970s, while Florence and Rome stayed in the following positions (Merlo & Polese, 2006). Florence is usually ranked in the third position in Italy thanks to the luxury pole around the metropolitan area with global brand as Gucci, Ferragamo and Prada. The Global Fashion Monitor (2012) scored Florence at the thirteen position at global level in the ‘World's Leading Cities for Fashion’, with a gain of three position from previous chart and indicating as motivation “Florence: Michelangelo, Leonardo da Vinci and Botticelli — A proud heritage to a thriving fashion industry”. This situation anyways is not guaranteed in the future. In fact some authors also underlined that this chart of global city will not be maintained in the future as city from developing countries are increasingly enter in the competition (McKinsey, 2013; Gilbert, 2006). In particular, McKinsey (2013) ranks Paris, London, Milan and Seoul in the mature growing fashion industry in the Luxury segment, while Moscow, Singapore, San Peterbrurg, Beijing, Shangai, San Paolo etc as emerging city in the global fashion industry. FASHION AND CITY BRANDING Crewe & Beaverstock (1998) underlined the contemporary fashion industry and the role it plays in identity formation has created a situation where fashion can be taken seriously as a cultural industry supplying symbolic content in sold goods. In this context fashion is identified as a powerful stylistic marker, not a simply part of a trivial consumer culture. Jansson & Power (2010) underlined that the value of global fashion city-based brands lies partly in their ability to persuade consumers of products’excellence, quality, and innovation. Also, the brand infuses products (and firms) with the ‘feel’ of the city: cool clothes come from cool cities. Labels of origin such as ‘Made in Italy’ or Rive Gauche are used as strategic tools in the fashion industry (Hauge et al., 2009). Positive connections between product images and place may create a kind of monopoly rent and therein can create barriers to entry for products from competing places; and give firms an incentive for being in the ‘right’ place. Jansson & Power (2010) underline also that clustering in few fashion city produce also some other benefits as agglomerations of firms and consumers play a central role in the gathering, creation, and transfer of industry-relevant knowledge and cluster of creative industries (Lazzeretti & Capone, 2015). There is in fact an increasing effort in the research on the city branding with the help of local industry and local cultural production (Jensen, 2005). Breward & Gilber (2006) have underlined that city branding is more a focus from city authorities in order to appear in the global hierarchy of fashion capital. Niedamysl (2004) besides points out that city branding has the main aim of attracting visitors, investors or inhabitants. Power & Hauge (2008) discuss the role of the branding for territories, places and cities, underlining that has been a topic deeply undervalued for territorial competitiveness and they analyse the fashion industry as an example. City branding is a recent strand of research with a growing trend (Merrilees, Miller & Herington, 2009) and it results a complex research theme, due to its multidisciplinary approach (Pike, 2011). Born at the beginning for the analysis of the image of the city, it deals increasingly with analysis of marketing strategies and policy for urban context (Merrilees, Miller & Herington, 2012). At the moment, it is a theme that rise interest from different subjects as marketing, management, but also urban studies, economic geography and urban and regional development. If an analysis on ISI Web of Science is developed on ‘city branding’, over 100 articles are collected on these themes with article from the following Journal as Cities, International Journal of Tourism Science, Journal of Business Research, Urban Studies, Applied Geography, Current Issues in Tourism, European Journal of Marketing, etc. These Journals confirm the multidisciplinary approach and the interest on city branding from several stakeholders: policy-makers, urban planners, marketing strategist, urban developer, etc. Within the theme, several studies have focused on how city branding is particularly attached to some local industries and activities, that denote the area and the city. In this context, one of the most interesting aspect is interactions between branding and fashion (Jansson & Power, 2010; Hauge et al .. 2009; Martinez, 2007). The aim of this paper is to analyse the role of fashion and fashion design for the city of Florence, in the formation of a new image of the city, also in a perspective of new branding strategies for the future. The analysis is based on a multi-level approach. First, an initial analysis is developed on publications on ‘city branding’ on ISI Web of Science to identify the relevance of the theme and the most used methodologies in these studies. The second part of the work is instead based on analysis of reviews of online communities (TripAdvisor, Twitter, etc.) of the attractions of the city and a questionnaire is administrated to visitors of the main fashion outlets in Florence (The Mall, Barberino Desegner Outlet, etc.), in order to emphasize the perception of visitors and consumers of fashion in the city and how it contributes to the fashion city branding of the city of Florence. From the point of view of marketing, several authors have tried to analyse the brand association in fashion (Ranfagni, Guercini & Crawford, 2014), but mainly from the point of view of products. In this work, we try to contribute to this debate through the analysis of online communities and city branding of Florence. Merrilees et al. (2009) investigate what are the city attributes influencing city brand attitudes with a quantitative survey of a sample of 878 residents of the Gold Coast City. Hankinson's (2001) study of twelve English cities shows the diversity of approaches in how city organizations market and brand themselves. Vanolo (2008) analysed the city of Turin and its transition from post-industrial to a cultural and creative city. This work develop a single stake-holder perspective as most studies avoid to considers multiple stakeholders perception on city branding (Merrilees et al., 2012). Results confirm the importance of the fashion industry in the perceived image of Florence from the visitors and for the future city branding policies are even more strategic to continue to exploit the competitive advantage that Florence has in the fashion industry globally.

현대 패션 비평 특성에 관한 연구

박수진,하지수 한국의류학회 2023 한국의류학회지 Vol.47 No.3

Contemporary fashion criticism tends to rely solely on the established art criticism process without consideration of the distinctive characteristics of fashion. Thus, this study aims to reveal the unique roles and characteristics of fashion criticism by recognizing it as an independent field in contemporary art with its own social significance. This study will first apply traditional art criticism models to analyze and explore contemporary fashion criticism's empirical content before uncovering the uniqueness of contemporary fashion criticism by content analysis. Contemporary fashion criticism discusses not just physical objects but various topics and ideas, as well. Accordingly, the existing criticism model was modified in this study to fit contemporary fashion criticism and organized into five stages: description of historical fashion, form description, external evaluation, interpretation, and internal evaluation. Commerciality, the human body, coordination, the critic's individuality, trends, and fashion-related persons were identified as key factors of contemporary fashion criticism's uniqueness. In conclusion, rather than build a single contemporary fashion model, this study found it more effective to create individual fashion criticism models suitable for detailed fields, as these enable the discussion of multifaceted topics in the fashion field. This study is expected to serve a meaningful guide for the fashion discourses.

A Systematic Review Exploring the Current State of Fashion Criticism -A Focus on the Fashion Designer Exhibition Reviews of Fashion Theory-

( Kyung-hee Choi ) 한국의류학회 2020 한국의류학회지 Vol.44 No.2

Considering the complex relationship between fashion curating and the critical approach of fashion exhibition reviews, this study explores the current state of fashion criticism in museology, focusing on fashion designer exhibition reviews of Fashion Theory. The author selected eighteen exhibition reviews of individual fashion designers’ works from 1997 on to the current 2020 issues of Fashion Theory, which provides an interdisciplinary forum to analyze fashion as a cultural construction. The author performed a systematic review that qualitatively summarizes and/or synthesizes the findings of the studies on the topic with the process of a systematic review, such as key question formulation, analytic framework building, evidence mapping, critical appraisal, and evidence synthesis. The results of this study are as follows. First, the exhibition reviews included almost all stages of the inclusive fashion criticism model, based on an artifact study. Second, they reflected various critical discourses that offered current interpretations of historical and contemporary fashion. Third, they showed that fashion criticism in the museum context is the result of an interdisciplinary collaboration of various fashion agents. Finally, they offered a bridge for crossing the boundaries of various scholarly fields, as they combine multidisciplinary scholarship with object-based methods.

텍스트 마이닝을 이용한 소셜 미디어의 패션 비평에 관한 탐색적 연구 - 유튜브의 패션쇼 Panel discussion을 중심으로 -

정다울,김세진 복식문화학회 2024 복식문화연구 Vol.32 No.2

The changing media landscape has diversified how and what is discussed about fashion. This study aims to examine expert discussions about fashion shows on social media from the perspective of fashion criticism. To achieve this goal objectively, a text mining program, Leximancer, was used. In total, 58 videos were collected from the panel discussion section of Showstudio from S/S 21 to S/S 24, and the results of text mining on 24,080 collected texts after refinement are detailed here. First, the researchers examined the frequency of keywords by season. This revealed that in 2021–2022, digital transformation, diversity, and fashion films are now commonly used to promote fashion collections, often replacing traditional catwalk shows. From 2023, sustainability and virtuality appeared more frequently, and fashion brands focused on storytelling to communicate seasonal concepts. In S/S 2024, the rise of luxury brand keywords and an increased focus on consumption has been evident. This suggests that it is influenced by social and cultural phenomena. Second, the overall keywords were analyzed and categorized into five concepts: formal descriptions and explanations of the collection’s outfits, sociocultural evaluations of fashion shows and designers, assessments of the commerciality and sustainability of the current fashion industry, interpretations of fashion presentations, and discussions of the role of fashion shows in the future. The significance of this study lies in its identification of the specificity of contemporary fashion criticism and its objective approach to critical research.