최경자 패션에 나타난 한국적 패션 디자인 연구

이상례(Sang Rae Lee),소황옥(Hwang Oak Soh) 한국복식학회 2016 服飾 Vol.66 No.2

Fashion reflects various cultures, including the spirit and the lifestyle of the period. South Korea has experienced rapid social changes, including the Korean War, industrial development, and the inflow of Western influence. Modern Korean fashion has developed along with these changes. Acceptance of suits and the reformism of the Hanbok are the two notable changes in Korean fashion. Gyungja Choi, and her fashion show, is known for combining modern fashion and traditional beauty by entwining traditional Korean fashion design elements into modern fashion. This research investigated Gyungja Choi as a fashion designer, a fashion education executive who cultivated fashion designers through the education business, and a fashion publisher who published the first professional costume magazine. This research classified the Korean-style design elements in Gyungja Choi’s fashion show by analyzing the clothes exhibited in her fashion shows. In conclusion, Choi’s design utilized Korean-style fashion design elements, such as line, colors, patterns, and materials. Which can be said to be the introduction period that expressed Korean style image in fashion considering the period.

FASHION TRADE SHOWS AS PLATFORMS FOR CORPORATE BRANDING

Elina Koivisto,Pekka Mattila,Heidi Cheng,Kristina Engelvuori 글로벌지식마케팅경영학회 2017 Global Fashion Management Conference Vol.2017 No.07

Introduction “The success of a 21st century business will be defined as much by who it is as what it does.” (Keller and Richey 2016, p. 47) Traditionally, branding has been a staple interest among fashion marketing research, although this has been mostly looked from the perspective of business-to-consumer markets. However recently, in the general marketing literature, there has been a growing interest towards understanding also the business-to-business aspect of branding (see Seyedghorban, Matanda, and LaPlaca 2016 for bibliometric review). By and large, this perspective of branding is also significant in fashion business as industrial customers have a double role as consumers and fashion professionals, as their decision-making process leans on both rational judgement and intuition. Recently, increased product and service homogeneity and digitalisation have been factors that have led to the emergence of a growing body of literature in business-to-business branding (see Leek and Christodoulides 2011a for review). This shift can be observed during trade shows, which are losing their significance in terms of sales, and, in turn, becoming more important for building relationships with customers and partners (Sarmento, Farhangmehr, and Simoes 2015) as well as cultivating the brand image of exhibitors (Hansen 2004). In particular, in fashion, trade shows are an example of activities that are inarguably geared towards building brand value among buyers and other actors in the market. By and large, previous work in marketing during fashion trade shows has been limited to few studies on trade show experience (Rinallo, Borghini, and Golfetto 2010), knowledge processes (Cheng, Koivisto, and Mattila 2013), market making (Rinallo and Golfetto 2006), semiotics of communication (2003), and their influence on fashion consumers (Aiello et al. 2016). However, while the importance of branding in fashion industry has been widely recognised, there is no studies on branding in business-to-business context in fashion. This forms an interesting research gap to observe branding in the context of international fashion trade shows. In this vein, the purpose of this article is to provide a new perspective to trade shows. The key research questions we hope to respond are: How does corporate branding occur in fashion trade shows? and What are the characteristics of branding in trade shows? To answer these research questions, 18 fashion start-up companies that have attended trade shows have been interviewed. Previous studies have shown how B2B brands should communicate the value of their brands to a range of stakeholders if they are to leverage their full potential (e.g. Mudambi 2002, Baumgarth 2010, Ohnemus 2009). In this light, recognizing and understanding the significance of business-to-business branding in the fashion industry is important, as it enables brands to engender trust and develop both cognitive and affective ties with stakeholders (Lynch and de Chernatony, 2004). Business-to-business branding Brand is defined as “a name, sign, symbol or logo that identifies the goods and services of one seller and differentiates them from others” (Webster and Keller 2004: 389). Moreover, brand implies ”a cluster of functional and emotional benefits that extend a unique and welcomed promise (de Chernatony and McDonald, 2003)” of the offering. Traditionally, branding literature has overlooked the significance of branding in business to business markets (Saunders & Watt, 1979, Sinclair and Seward 1988) due to the belief that industrial buyers are unaffected by emotional values corresponding to brands (Leek and Christodoulides, 2011b). However, recently the influence of branding has also been acknowledged in the more formalised B2B decision making processes (Lynch & de Chernatony, 2004) where branding increases buyers’ confidence in and satisfaction with their purchase decision (Low and Blois, 2002) and reduces their level of perceived risk and uncertainty (Bengtsson and Servais, 2005). Webster and Keller (2004) suggest that in business-to-business, it is advisable to use corporate branding strategy. Corporate branding takes a holistic perspective to branding as its focus is on managing the reputation of the whole company over individual product lines in order to add value to its offering (Harris and de Chernatony, 2001). Moreover, house branding has been common practice in luxury fashion, where it has been used to build customer loyalty and boost corporate reputation (Chevalier and Mazzalovo 2008). As branding practice, corporate branding is applicable to business-to-business branding as it emphasises the role of employees in the branding process and maintaining the brand reputation over time (Harris and de Chernatony, 2001). In this view, brand management involves managing the gap between corporate identity and reputation (de Chernatony 1999) to provide firm with sustainable competitive advantage and increased customer loyalty (Hatch and Schultz 2003). First, corporate identity is “organization's presentation of itself to its various stakeholders and the means by which it distinguishes itself from all other organizations” (Markwick and Fill 1997: 397). In the business to business context, the dimensions of brand identity include employee and client focus, visual identity, brand personality, consistent communications and human resource initiatives (Coleman et al. 2011). Moreover, key areas of corporate branding include brand vision and culture, positioning, personality, relationships, and presentation (Harris and de Chernatony, 2001). Brand equity refers to “buyers’ willingness to pay a price premium for their favourite brand [and] to recommend that brand to peers and give special consideration to another product with the same name” (Bendixen, Bukasa and Abratt 2004). Moreover, this consists of brand awareness, brand performance, brand preference, and long-lasting relationships (Keller 1993). In particular, the importance of relationships is considered the cornerstone of the brand in the industrial marketing literature (Campbell et al. 2010) due to the interpersonal nature of the market (Bengtsson and Servais, 2005). Moreover, it has been shown that customer experience has a positive effect on the four dimensions of brand equity in business-to-business setting (Biedenbach and Marell 2010). Branding in trade shows Business to business branding is an important concept to understand the role of trade shows in marketing. Trade shows have been defined as “short-term events, typically less than a week in duration that take place on a regularly scheduled basis. Trade shows enable various members of a certain market or industry to meet face- to-face and share ideas, new product innovations, technical updates, industry information, connect with customers and prospects, as well as, in some cases, consummate sales.” (Bettis-Outland et al. 2012, p. 385). For many fashion start-ups these are excellent ways of developing relationships with customers and partners (Sarmento et al. 2015), as well as to enhance their brand image (Hansen 2004), and collaborate with a variety of stakeholders (Cheng et al. 2013). Traditionally, trade shows have been instrumental in consummating sales (Kerin and Cron, 1987), but recently the role has been mostly shifting towards building relationships as well as to build product awareness and image (Pitta, Weisgal, and Lynagh, 2006). This holds true as casual contact with current customers, manufacturers and buyers can easily be made at one location in a relatively short time (Han and Verma, 2014). Moreover, trade shows and meetings with sales representatives greatly affect the earlier parts decision making process of buyers (Blomb?ck and Axelsson, 2007). This suggests that trade shows could well fulfil the purpose of forming new relationships with the long-term goals of selling. What is more, another non-buying objective for attending trade shows is promoting corporate image (Kerin and Cron, 1987). The facet of corporate visual identity, as part of B2B brand identity, refers to symbolism, symbols or logo and even more to physical cues such as clothes employees wear and their premises (Coleman et al., 2011). Methodology and data As the study was explorative in nature, qualitative research method was chosen (Silverman, 2006). The data collection consisted of two phases; primary data were acquired through semi-structured interviews, complemented by observational data acquired by means of an ethnographic observation at major trade events (Geertz, 1973). 15 Finnish fashion trade show exhibitors and 3 professional buyers were interviewed for the study. All of the respondents from exhibiting companies were responsible for sales and marketing activities, and took part in the trade shows in person. Moreover, for observation, the team attended four major fashion trade shows during September 2012 and January 2013: Premier Classe Who’s Next and Capsule in Paris, Gallery int. Fashion Fair CPH in Copenhagen, and Capsule in New York. As the study is explorative by nature, data-driven approach of grounded theory (Strauss and Corbin 1990) was applied in the analysis of the interview data. Here, the data collected thorough interviews and observations is analysed by utilizing a systematic set of procedures to develop an inductively derived grounded theory about a phenomenon (ibid.). Findings – branding elements in fashion trade show The research investigates business-to-business branding occurring at fashion trade shows and its perceived benefits. To better understand this, findings will be presented in three sections: (1) Main elements of branding at trade shows; (2) characteristics of business-to-business branding in trade shows. (1) Main elements of branding at trade shows From the data, elements of trade show branding include people, brand presentation, and brand story. In the following, these are briefly illustrated. Brand story. Brand image is conveyed through the brand story that is the essence of the brand and it differentiates the brand from the competitors: “The clients are looking at what you do, listening to story, because the story is the key right now. If you don’t have a story, they will go for some other cheap stuff.” This story ties together all the elements of a brand. During the trade show, the story of the brand is conveyed to the attendees through a variety of tangible brand elements such as people, products, stand decorations, and marketing communications. People. The people have a crucial role as mannequins for the brand. The first impression of the stand, which is mostly about the people occupying it, determines if there will be any further interaction as well as sets the tone for it. For this reason, give out the right image: “We receive a lot of feedback that we look and feel like the brand. It’s very important that the sales people can channel the brand into this kind of environment” explains the head of a shoe brand. Moreover, their behaviour has a crucial role in communicating the brand essence and for this reason it is important to maintain the right type of energy at all times: “If you stay sitting and do like that (plants head into hands) in terms of branding is a killer. You won’t give the right image. If you are standing up especially on the heel, that will give out the right attitude.”. What is more, the presence of the designer is an important part in this communication, too, as is described by one buyer: “The presence of the designer matters. It brings depth and meaning into the presentation. And it also shows that they have their feet on the ground, that they are willing to work. hard. In fashion, there is all this hype and glamour, even though it's a trade among others. I give extra points if the designer is there.” Finally, it is important to have the right people on duty to enable the right type of interaction. For instance, to build relationships with all stakeholders including customers in the recurring events: “It’s a big reason that we meet the customers half yearly and it’s really fun seeing, really genuinely, it’s super nice seeing people because most of them are so nice people”. Indeed, this ludic element and experiencing things together enables deeper, and more trusting relation, which in turn facilitates further collaboration between parties. Brand presentation. At the stand, the buyers and other stakeholders get to experience the brand in its all splendour. It is very important to set up the stand in such manner that it lures in customers and provides an extraordinary experience. For instance, one of the exhibitors we interviewed went over the top with their display: “We’ve used a bus where we can make a showroom at the back. That’s been useful in Berlin alongside the trade shows, directing people from the trade show to the bus with bar and drinks as a kind of lounge and extra that we are remembered for.” Indeed, one interviewee even went as far as claiming that a generic product set up in a gorgeous stand would attract more customers than a perfect product on a dull stand. In this vein, a lot of attention is given to the stand as it needs to be aligned with the overall brand image: “Because our look it pretty rough and manly, we’ve used a lot of wood and metal on the racks when building the stand. Materials are chosen so that they ooze our brand and we never order basic stuff. Last time, we used wood on walls and built a bar with raw metal on the floor. The look has to match and communicate the brand.” Another important element are the products that are on display. From an exhibitor perspective, it is important to choose the right products that communicate the key attributes of a brand to the buyers. Moreover, even though the buyers are not buying for their own needs, it is important to have the possibility to feel the quality and fit at the spot. This is further explained by one of the interviewed buyers “It’s of course an advantage getting to try on the product and when you get to put the hat on, you get the wow effect of how well it fits. It’s easier to sell the product this way when someone gets to try it on compared to just buying it online.” (2) Characteristics of business-to-business branding in trade shows For new brands in particular, trade shows are important places to get noticed. As many of our interviewees note, trade shows are no longer places where orders are written. Instead, buyers go there to get inspired and to spot new brands: “As a new label, it is very recommended you go to trade shows because there is no way you can get, if no one knows about you, visibility or even the contacts.” In this vein, one of the key branding functions of trade shows is building awareness for the brand. Subsequently, to position the brand, showing up in the right company is important. The decision on which trade shows to attend is of paramount importance: “It is important for the brand that you consistently go to the same trade shows that position you correctly, that you are there with brands that are on the same level as you are or in the higher scale and you are not there with brands that should not be associated with your brand.” Finally, to convince the buyers and to build relationships with all stakeholders, continuity is important: “Big customers don’t ever order when they see you the first time, they want to see continuum at least 3 times so you’ve built your presence, then they look at you more seriously because you don’t seem like a one-season case who might just disappear.” This consistency means making long-term commitments to both the trade shows attended as well as the branding activities. Corporate branding in fashion tradeshows is parallel to Keller’s customer based brand equity model (1993), where branding follows a four step process. First, brand identity entails raising the salience of a brand among stakeholders and creating association with products. Being visible at trade shows attaches brand to a certain product category and creates awareness among stakeholders. Second, brand meaning involves linking a variety of tangible and intangible associations to the brand in the customer’s mind. This involves telling the story of a brand and providing the opportunity to touch and try the products. Third, brand response conveys brand judgments and brand feeling, of which the former is more relevant in an organizational context (Kuhn and Alpert 2004). Here, the interaction with people and products occurring during the trade show plays and important role as they enable the formation of emotional and rational judgements of a brand. Final step is about establishing an active and intense relationship between stakeholder and a brand. This particular aspect has the most significance in business-to-business context (Kuhn and Alpert 2004), which is also highly salient in the fashion world. Conclusions In fashion, branding is a prominent practice with regards to business to consumer markets. However, it is worth noting that branding is and has to be done also on business to business context as the buying decision is not purely rational but relies greatly on intuition and relationships. Here, a successful B2B brand is of great importance – and a great commitment as well as it involves a long-term planning and resilience to attend trade shows from season to season. This exploratory article has provided a first glimpse to the branding activities occurring at fashion trade shows. First and foremost, business to business branding in fashion involves the brand relationship between buyer and seller as well the brand story conveyed through the holistic brand experience at the trade show. Indeed, the resulting trust and loyalty between the brand and a stakeholder have implications for further buying behaviour as well as then the further marketing efforts towards the end-consumer. In this vein, trade shows provide a great opportunity to increase brand value through their positive influence on brand awareness, brand associations, perceived quality, and brand loyalty that are part of the brand equity construct (Aaker 1991) and can lead to increased trust and loyalty, which, in turn, help to moderate risk and decrease transaction cost (Ford 1980). Limitations of the study and further directions for research Although the study has been able to illustrate the branding activities occurring at fashion trade shows, there is still significant opportunity for improvement. The study is limited to only a handful of fashion start-ups and within a certain market. From this perspective, it would be interesting to study if branding also has similar significance for more established firms. Moreover, it would be interesting to study the performance outcomes of branding, how these efforts support the internationalisation, as well as the implications of business-to-business branding to business-to-consumer markets. Moreover, it would be interesting to compare the brand images between buyers and consumers in a given market. What are the things the consumers look at, and are the buyers different?

박물관 패션전시의 유형화

예민희,임은혁 한국의상디자인학회 2019 한국의상디자인학회지 Vol.21 No.3

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

模의和價値的基礎: 對于時尙營銷的理論

( David J. Burns ) 한국마케팅과학회 2010 Journal of Global Fashion Marketing Vol.1 No.1

The objective of this paper is to propose a theory of fashion marketing which directly addresses the social processes that consumers use to associate images and meaning to articles of fashion. By doing so, the theory will address the means by which fashion originates and diffuses through society, an important issue of concern to fashion marketers. The role of taste in fashion involves taste acting as the means of influence between others and one`s fashion understanding and subsequent fashion choices. Taste, therefore, is an evaluation of what is desirable or acceptable as determined by the opinions of others. Taste has broad-reaching effects on the desires and purchases of individuals. Arguably, taste directly affects consumers` assessments of most, if not all, fashion choices. Taste, however, does not have an individually based origin, but is based on the imitation of others. The role played by clothing in the communication/ construction of identity is widely accepted today. Within this environment, a change in one`s possessions seemingly can lead to a change in one`s self. The role played by many products, therefore, appears to be to act as building blocks consumers can use to construct a desired self. Although many products appear to be utilized in the communication/construction of one`s identity, no products are able to fulfill this role to the extent possible through apparel. Taste acts as the conduit through which fashion acceptance is transmitted between individuals and through social groupings and operates primarily through the imitation of fashion adopted by others. A critical issue which presents itself when examining the imitation of fashion is "what is being imitated?" Fashion imitation actually involves attempts to acquire the meaning associated with the fashion. Girard suggests that the meaning acquired with the imitation of fashion consists of the desirable qualities possessed by the individual or group of individuals whose fashion is being imitated. Imitation occurs, therefore, because fashion becomes associated with those who wear it and comes to be viewed as a reflection of them. Given the role of fashion in the construction/communication of one`s self, consumption ultimately becomes competitive. Indeed, imitation of others whose selves appear desirable can be viewed as a way to acquire the desirable qualities of the other. This is the essence of mimetic desire. According to Girard, and as supported by past fashion marketing research, desire does not possess an individually based origin. In other words, desire for a specific fashion does not arise from an individual`s privately developed tastes. Instead, individuals` desires and likewise their tastes possess externally based origins-the basis of individuals` tastes and preferences lie in the imitation of the tastes and preferences observed in others. A central issue of Girard`s theory is that desire is mimetic. Desire arises and gains direction from the desires of others. The desirability of a fashion to an individual is noted and established by the desires of another for the product. When another is viewed as desiring a product (as is noted by their desire for the product or their ownership of the product), an individual is alerted to the desirability of the product-a fashion trend has begun. Rivals must not consist only of individuals with whom one directly interacts (e.g., neighbors, colleagues), they can consist of groups (e.g., reference groups), famous celebrities, or images created through marketing activities (e.g., role models presented in advertising). One`s choice of rivals is an unconscious choice of those whose very essence seems to be desirable, whose being one wants to acquire-"I want to be that person." The rival, therefore, does not merely serve as a model for fashion, but as the model for tastes and desires themselves. The resulting desire becomes a powerful force, capable of driving the actions of an individual. The infectious nature of mimetic desire can readily be seen in the marketplace. Once the desirability of a specific fashion is communicated, such as by its acquisition and subsequent display (e.g., the item is worn in a public setting) by an individual or by its inclusion in marketing efforts (e.g., advertising or in-store promotion), mimetic desire for the item can be generated in others. The fashion then, is viewed as the means by which the attractive quality can be acquired and incorporated into one`s self. This is the essence of mimetic desire. Indeed, mimetic desire provides the basis by which much fashion diffuses in a society. The resulting rivalry between an individual in whom mimetic desire has developed and the target of that desire, or the rival, necessarily leads to an escalation of tension. First, the acquisition of a specific fashion associated with another is not able to produce the desired results-the acquisition does not result in the acquisition of another`s essence. Second, the act of imitation will also have an effect on the individual being imitated. Seeing one`s fashion choices mimicked by another, particularly one viewed as inferior, will prompt a negative response by an individual. In fact, the act of imitation will likely be viewed a direct attack upon one`s personhood. Consequently, tension, if not violence, is a likely response from being copied. In conclusion, mimetic desire appears to be a driving force in the creation and diffusion of fashion. The infectious nature of mimetic desire provides the basis for the specific characteristics of the demand for fashion. The demand for fashion generally possesses little basis in the need for physical qualities of a product, nor is based in mere imitation of another. Instead, its mimetic basis results in fashion playing a much larger role in the lives of individuals and in society-a role which must be recognized by fashion marketers if they hope to optimally satisfy the fashion needs of their customers. By truly understanding their customers, fashion marketers will find themselves in better positions to create and provide products which will most likely appeal to their specific customer segment.

GLOBAL FASHION CONSUMPTION MOTIVES: A CROSS-CULTURAL COMPARISON OF APPAREL CONSUMER DECISION-MAKING CHARACTERISTICS IN THE USA, FRANCE, GERMANY AND AUSTRIA

Nina Pongratz,Sandra Diehl 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

Background & Research Objectives The ever-changing nature of fashion and multicultural consumption motives shape and challenge the contemporary global fashion world. To some extent, it has been experienced that individuals across countries engage in similar fashion movements simultaneously. Therefore, it may be assumed that there partially exists a homogenized, transnational global consumer segment when it comes to the purchase of clothing items. Nevertheless, on the other hand, there still remain several divergences in the consumption behavior of fashion products around diverse parts of the world (Yurchisin & Johnson, 2010). It is universally agreed that consumers engage in shopping with specific decision-making modes and styles which make the search for a common instrument that is able to describe the purchase orientation of fashion consumers across cultures quite problematic and challenging. Indeed, according to the buyer´s cultural backgrounds, fashion consumption motives and the benefits searched for when buying an apparel product could be very different (Tahmid, 2012).Today´s fashion consumer is characterized by a continuously evolving set of complex wants and needs that can be satisfied by a wide variety of competing alternatives (Pandey & Dixit, 2011). The different aspirations and motivations which consumers express are generally shaped by various shopping outcomes which they are prone to achieve (Yurchisin & Johnson, 2010).Motivation is described as an internal state that activates goal-oriented behaviour. It refers to the processes that lead people to behave as they do. It occurs when a need is aroused that the consumer wishes to satisfy. The need creates a state of tension that drives the consumer to attempt to reduce or eliminate it. This need may be utilitarian (i.e., a desire to achieve some functional or practical benefit) or it may be hedonic (i.e., an experiential need, involving emotional responses or fantasies). Marketers try to create products and services to provide the desired benefits and help the consumer to diminish this tension (Solomon, 2013).It is advocated that fashion consumption is made up of two major categories of drivers, namely social consumption motives and individual consumption motives which both represent psychological determinants. Those psychological factors influencing apparel purchase behavior can be separated into rational, emotional (perceptional) and patronage motives (Diamond, 2005). Rational motives replicate a pragmatic orientation, such as quality- or price consciousness in purchase behavior. In contrast, emotional drivers include, amongst others, motivations linked to physical vanity and fashion consciousness, adventure-, gratification- and pleasure seeking, materialism, status and conspicuousness, impulsive and compulsive consumption. Patronage motives, on the other hand, reflect habitual buying and for instance are connected to brand-consciousness and store loyalty (Diamond, 2005). By profiling international apparel consumers based on their individual decision-making styles and modes, more meaningful ways to identify and understand different cross-cultural customer segments are offered. As a result, fashion industries are able to target each customer segment with more focused marketing-strategies, based on their motives and aimed-for benefits linked to purchasing clothing products.This topic raises a number of important questions for researchers and practitioners. To the authors´ knowledge no empirical contributions to compare and contrast prevalent motives of apparel consumption in Western nations exist. Hence, in order to fill this research gap and broaden this important research area, this explorative study focuses on the identification and discussion of similarities and differences in buying characteristics between the USA, France, Germany and Austria by analyzing valuable motives that have not yet been empirically examined in a cross-cultural fashion context. Methodology Starting with a review of existing literature regarding generic consumer decision making motives, like e.g. Sproles & Kendall (1986), Mokhlis (2009) and Hiu, Siu, Wang & Chang (2001), an initial classification into rational, emotional and patronage motiveswas undertaken for the field of fashion, which later on was expanded using the results of a qualitative pre-study conducted with 50 interviewees in New York to gain first insights as a basis for the proximate, main empirical research. In compliance with triangulation theory in social science (see e.g. Cohen & Manion, 2000), which advocates data collection from manifold sources, a combination of quantitative and qualitative research was carried out in the core study, consisting of expert interviews and an online consumer survey. Due to a lack of existing literature foundation, the main research is explorative and not based on specific hypotheses. In the first section, a qualitative analysis of the mentioned motives was done using NVivo on the grounds of 16 expert interviews with fashion marketing communication and design experts in the four research countries. The second part of the empirical study was conducted via a quantitative consumer survey, to enable a Web based questioning through Lime Survey. To minimize possible language barriers, the questionnaire was delineated in three languages, translated from English into French and German by bilingual professionals in order to ensure best possible quality, precision, accuracy, reliability and validity of the empirical study. For this specific type of quantitative research, a stratified random sampling procedure was applied. Altogether, 693 individuals (482 female and 211 male subjects) participated in the online survey, 174 in USA, Germany and Austria respectively, and 171 in France. The total non-student sample included participants with a mean age of 28.4 years. Subjects were asked to evaluate 22 rational, emotional and patronage motives derived from literature and the pretest on a 7 point Likert scale. Cross-cultural similarities and differences were revealed throughout the examination process. An analysis of variance (one-way ANOVA) on the mean values and a subsequent Post-Hoc Tukey Test disclosed significant variations between the four nations for 15 out of the 22 tested motivational determinants influencing fashion consumption behavior. In a first step, the authors refrained from using a factor analysis, in order to retain more detailed information. Findings demonstrate that American consumers pay the most attention towards price-value relations and cheap deals, compared to the remaining countries. They additionally consider quality attributes the least when deciding upon which fashion products to buy. In contrast to the other nations, American consumers are most pragmatically oriented when deciding upon which apparel items to purchase. Furthermore, they engage the least in spontaneous clothes shopping in the spur of the moment. An investigation of the preferred brand segments per country supported these outputs by highlighting the statistic that American consumers buy significantly less apparel from the upper-middle price segment than Austrian, German or French consumers. Accordingly, in comparison to the other nations, American consumers purchase the most value/discount fashion. Moreover, outcomes illustrate that French consumers have a higher tendency of buying garments from the same stores and boutiques than Austrian and German consumers. Correspondingly, Austrian and German consumers feel significantly less confused by over-choice of apparel offerings than French consumers. To that effect, in terms of country of origin being a characteristic that impacts fashion consumption, findings prove that French consumers value national heritage of clothing more than Austrian and German consumers. Indeed, they tend to also pay more attention to buying apparel that originates from the home country. Outcomes further pinpoint that compared to Austrian and German consumers, Americans and French utilize fashion significantly more to make a positive impression on others, feel socially belonging and accepted as well as to be part of a reference group. In contrast to Austrians and Germans, Americans are more likely to adjust their wardrobe to the specific expectations and norms of their working environments. In addition, results indicate that French consumers devote more consideration towards dressing in accordance to their job conventions than Austrian and German consumers. Interestingly, Austrian and German consumers value physical vanity significantly more than American and French consumers. French consumers, however, employ fashion the most as a means of boosting satisfaction with one´s self-image, compared to the other research nations. Detailed results of the empirical study will be thoroughly discussed in the presentation in order to explicitly highlight specific common and divergent archetypes and patterns between the research countries. Additionally, final key outcomes, in-depth implications as well as limitations and directions for future research will be addressed in the conference.

패션 팝업 스토어의 연도별 변화 추이 및 유형 특성 - 국내 사례를 중심으로 -

유지헌 ( Jihun Yu ),최도리 ( Doree Choi ) 복식문화학회 2015 服飾文化硏究 Vol.23 No.5

Contemporary fashion companies have been planning marketing strategies that can promote brands and products more effectively for satisfying consumers’ increasingly diversified needs. For this reason, retail spaces have continued to evolve and the modern concept of pop-up stores appeared through this process. Therefore, the object of this study was to research domestic pop-up fashion store cases by collecting article data. These data are from Internet fashion-specialty sites and analyze the types and characteristics of pop-up fashion stores by providing basic information that will be useful in the pop-up fashion stores of companies when they establish their marketing strategies. This study utilized the content analysis method and derived the results by using SPSS Statistics. As a result of this study, the type of “pop-up fashion stores opening in distribution enterprises” comprised the highest percentage of the whole store types and the pop-up fashion stores’ management purposes were focused on product introduction, promotion, and market testing. As time passed, not only did pop-up fashion stores`` growth rate increased, but also the types of pop-up fashion stores have become more diverse. In other words, contemporary fashion companies are utilizing more pop-up fashion stores as a marketing strategy than before. However, due to the short history of domestic pop-up fashion stores, the variety of research is still insufficient, so more extensive research on pop-up fashion stores is required.

패션 커뮤니케이션과 전시 공간 - 메종 마틴 마르지엘라의 패션 전시 디자인을 중심으로 -

장라윤 ( Ra Yoon Jang ),양숙희 ( Sook Hi Yang ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.6

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela`s was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela`s exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l`oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

패션자본의 개념화를 위한 탐색적 연구

정진,이유리 한국패션비즈니스학회 2024 패션 비즈니스 Vol.28 No.1

The term 'fashion capital' has been used in conjunction with Bourdieu's concept of cultural capital. The aim of the present study was to explore the concept of fashion capital existing independently within the field of fashion. In-depth interviews were conducted with 8 fashion specialists and enthusiasts, seeking to uncover the structures, characteristics, and paths of fashion capital accumulation possessed by individuals with high fashion capital. As a result, fashion capital was broadly categorized into inherited capital, acquired capital, and institutionalized capital. Key components were identified, including inherited capital related to influence of family and childhood environment, acquired capital encompassing fashion activities, fashion knowledge, and ability to appreciate fashion, and institutionalized capital represented by economic benefits transformed from other forms of capitals. Additionally, 13 supplementary elements were identified. These elements could be broadly categorized into inherited, acquired capital, and institutionalized capital, as outlined by Bourdieu. This study initiates an academic discussion on the concept of fashion capital within the domain of fashion consumer research. Findings of this study have potential to provide educational and practical implications for both fashion industry and academia.

FASHION IS “ME TOO” STYLE IS “ONLY ME”: CONSUMER PREFERENCES TOWARDS FAST FASHION AND LUXURY FASHION

Ya Yun (Avon) Tsai,Alastair Tombs 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

The fashion industry has been dramatically transformed during the last 20 years with the introduction of fast fashion: a style of instant cutting edge fashion at affordable prices (Sheridan, Moore, & Nobbs, 2006). The term, fast fashion, describes a business model characterized by rapid supply chains, merchandising techniques and retail technology all developed to respond to increasingly fast changing consumer demands (Kim, Choo, & Yoon, 2013). In contrast to this business format, luxury fashion brands have always held a superior position in the fashion industry through their quality, limited release and pricing policies. The contemporary fashion industry is now highly competitive, with this additional pressure coming from fast fashion companies constantly delivering original and “fresh” products at affordable prices (Cholachatpinyo, Fletcher, Padgett, & Crocker, 2002). Despite the apparent price discrepancy between fast fashion and luxury fashion products, both these two fashion styles appear to cater to a consumer’s need for uniqueness. Through the consumption of fashion this uniqueness factor becomes evident in the way in which consumers convey their individual identity and self-image to society. Intuitively, as the two styles of fashion are distinctive, the type of uniqueness component desired by their consumer will differ. Therefore, we ask: “what aspects of uniqueness are motivating consumers to choose between fast fashion and luxury fashion brands?” The paper answers this important research question through evaluating (1) the predictively of fashion-brand attitude and self-congruency on fashion style preferences and (2) the moderating role of consumers’ need for uniqueness (CNFU) in these direct relationships. An online survey of 301 U.S. participants was conducted utilizing a quazi-experimental between-subjects design. All participants had experience with purchasing either fast fashion or luxury fashion clothing. Fashion-brand attitude and self-image congruency were treated as independent variable with preference for fashion style as the dependent variable. The three factors that constitute CNFU were treated as moderators. The results suggest that fashion style preference is determined more by the level of self-image congruency than positive attitudes towards fashion brands. More importantly, the different qualities of CNFU are capable of influencing individual consumers’ fashion preference within each fashion style. Collectively, the findings present strong supporting evidence that the differences in consumers’ need for uniqueness are likely to affect some fashion style preferences and not others. In particular, the majority of findings are consistent with the central argument that fashion consumers are uniqueness seekers and have their own ways of portraying their individuality to society (Workman & Caldwell, 2007). There was however inconsistent results obtained by treating CNFU as a single moderating construct, thus adding further support for Tain, Bearden and Hunter’s (2001) proposition that the consumers need for uniqueness consists of three distinct components, each specifying a unique personality trait.

연구논문 : 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.