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.

A Comparative Analysis on the Competitiveness of Korean and Japanese Fashion Industry by Applying Generalized Double Diamond Model

손미영,Yokoyama Kenji 한국마케팅학회 2013 ASIA MARKETING JOURNAL Vol.15 No.1

The purpose of this paper is to seek ways to improve the competitiveness of Korea’s fashion industry by utilizing the source of competitiveness of Japan’s fashion industry, which represents the world’s leading countries in terms of fashion, so that Korea can better enter the global fashion market. The study shall first compare the competitiveness of the Japanese and Korean fashion industries by utilizing the generalized double diamond model; second, provide an understanding of what the Japanese fashion industry can offer to Korean fashion industry and companies - that is, understand what the Japanese fashion industry’s competitive edge is; and third, study the kind of global competitiveness that Korea’s fashion industry must achieve. To adopt a generalized double diamond model to compare the competitiveness of the Korean and Japanese fashion industries, we selected 31 sub-variables to act as determinants of the model. That is, we extracted 31sub-variables by doing research of literature to analyze national competitiveness of the fashion industries. To measure these 31 sub-variables, secondary data was gathered. We collected data related to each sub-variable from various sources of Korea and Japan. And to calculate the competitiveness index, we took three steps with reference to previous studies. We found that status of the fashion industry of the two countries as it stands. That is, Japan is an advanced country of which fashion industry is domestic market-oriented while Korea is a small open economy that mainly focuses on the foreign market. Out of 31 proxy variables, Korea’s fashion industry shows higher measurements relating to production and export than Japan, but Japan’s fashion industry reports higher measurements than Korea in the fields of R&D, design and brand power, the rate of value added, the efficiency of companies and globalization. In order for Korea’s fashion industry to achieve competitiveness in the global market, it should pursue the following development direction. First, it is very difficult for Korea to follow the footsteps of the U.S. and Japanese fashion industries that are able to take advantage of economies of scale, because Korea is smaller than those countries. Therefore, in the case of small economies such as Singapore, strengthening of international activities will practically improve domestic determinants that Korea should improve its domestic diamond by enhancing the current competitiveness of its international diamond. In other words, Korea needs to further endeavor to develop and expand global resources and markets as well as improve its competitiveness in terms of R&D, design and brand power, the rate of value-added, and the efficiency of companies. As the Korean fashion industry shows relatively advanced level of information technology and the fashion education system, it has considerable potential to grow. Korea is expected to have a huge growth potential since it has relatively higher level of information technology, fashion education system and activities than those of Japan in both the domestic diamond and international diamond. In particular, a better environment is laid out before Korea to gain competitiveness in the fashion industry due to the recently growing influence of the Korean Wave that Korea is expected to grow as a leader in the Asian market as well as in the global market.

THE POTENTIAL IMPLEMENTATION OF THE INDUSTRY 4.0 TECHNOLOGY WITHIN FASHION LUXURY PRODUCTION. OPINIONS FROM A MANAGERIAL POINT OF VIEW AND CUSTOMERS PERCEPTIONS

Fabrizio Mosca,Emily La Rosa,Chiara Civera,Cecilia Casalegno 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07

Introduction This paper investigates the implementation possibilities of the Industry 4.0 systems within the production of fashion luxury goods by collecting the opinion of the managers and the perception of the potential customers. The results indicate that technologies 4.0 can be implemented within luxury fashion production without affecting the quality of the finished product. However customers are negatively prevented against them. Therefore, giving the present situation of the fashion industry, now more demanding than ever, it would be appropriate to implement such systems without disclosing it to customers. Theoretical development With this research we aim to demonstrate that in the world of luxury fashion production there is room, if not the need, to implement the technologies of the Industry 4.0 without affecting the quality of the final product. We believe it is crucial that the luxury environment starts to seriously consider the Industry 4.0 as the former, in recent years, has become ever more challenging. Since luxury has become more accessible to masses, customers are no longer content just by getting the product, they often want it before the general public has it or fully customized to distinguish themselves. This implies a reduction of production times together with multiple rearrangements of the entire production process. Which is why we need to start thinking about Luxury and Industry 4.0. The concept of Industry 4.0 started developing with the exponential involvement of technological means during production processes of any kind. The term describes the model of the “smart” factory of the future where computer-driven systems “monitor physical processes, create a virtual copy of the physical world and make decentralized decisions” based on self-organization mechanisms (Smith, 2016). The goal of the industry 4.0 is to reach a deeper interconnection and cooperation between the available resources and the final customer; it’s a multiple layer engagement composed by complex machines, people, products, information within the production sight and all along the value chain (Tolio, 2016). The implementation of such systems allows achieving better levels of efficiency and contributes to increase the competitive advantage; it is a revolution that involves a company at all levels from the production centers to human resources. Although luxury fashion is a quite peculiar industry, all its processes are still very much cyclical and could benefit from the help of such implementations. The main technologies that are often quoted as being at the core of the Industry 4.0 are IoT (Internet of Things), big data, additive manufacturing, 3D printing, augmented reality and new generation robots. All this may seem too futuristic for an industry such as luxury that has always been associated with craftsmanship. When defining luxury in fact, one of the qualities attributed to this kind of products is the “strong connection with the past proven by the tradition handed down over time” (Dubois, 2001); a description that can be taken quite literally as the heritage of the brand is built upon the traditions passed on by the different artisans who crafted the product. But if we fraction the production process and analyze it in depth, we will see that it is cyclical, and that some of its parts may benefit from such technologies that would make it leaner without affecting the quality of the end product. An example of this can be seen in the laser cutting machines for leather. A robot can cut the elements required to compose a bag in a few minutes, while it would take up to half an hour to do it by hand. Even if mechanically cut though, the bag will still need to be assembled by a highly skilled artisan to become the exceptional quality product that customers expect to see in stores. Many are afraid that technological implementations will lead to the disappearance of the artisanal component failing to understand that the Industry 4.0 is not about complete automation but rather about human-machine interaction. Talking about production we will refer to the process in its integrity, from the sketches to the products in the stores. Research design The research was conducted using semi-structured interviews to questiont professionals who work in different stages of luxury fashion production for different companies. All the interviewees were chosen among the industry biggest players: LVMH, Kering, Richemont, Herm?s, Chanel and others. To establish the sample of interviewees we divided the production process into four main phases and then identified at least one professional to question for each one of them. The subdivision we applied was the following: ? Phase 1 - Creation & Design ? Phase 2 - Production & Merchandising ? Phase 3 - Retail & Marketing ? Phase 4 - Supply Chain & Distribution Each interviewee was asked a set of specific questions related to the complexities of their job and the problems encountered while doing it (Appendix 1). Among the sample there were two professionals that did not belong to the production process but that we deemed necessary to involve to have a more complete outcome. One is a Professor of Fashion design at the Politecnico of Milan, the other is a Strategic Planning Analyst who works for Lectra, one of the biggest companies producing technologies for fashion. In order to investigate the perception of the customers we distributed a multiple choice survey to a heterogeneous sample of 200 people. Among the questions asked one was strictly related to the use of technology while the others regarded arguments, related to its utilization, that emerged while interviewing the professionals. Despite not being directly on the use of technology, we deemed the other queries important to evaluate if the problems emerged from the interviews were relevant also from a customer point of view. The questions submitted via survey were the followings: 1) On a scale of 1 to 4, (1= low interest, 4=high interest) how interested are you in luxury goods? 2) How much worth is being able to buy a luxury good before it is on sale in stores? (1= not worth, 4= very worth) 3) Would you think of higher quality a bag completely handcrafted rather than the very same bag produced also by using industrial processes? 4) Would you attribute a higher value to a luxury product conceived to be respectful for the environment? The survey ended up highlighting that customers have a negative bias towards the exploitation of such systems within the production of luxury goods. In fact they attribute a higher value to completely handcrafted products, without considering the possibility that the latters may have more defects. The methodology used was successful in helping us understanding the opinion of the management along with the perceptions of the customers. Moreover, through the interviews we were able to highlight practical daily problems encountered by people directly involved in the production process. Results and conclusion We used the problems that arose as bases to begin thinking what could be concretely implemented, in which phase and with what goal. We started by focusing our attention on five points that currently challenge production and could be exploited as opportunities for the implementation of specific technology. Nevertheless, we also highlighted three main limits that might prevent the application of said technology. The opportunities of implementation were the following: Production times - Representing one of the biggest problems in the industry, we believe that technology could come to the rescue especially in the first two stages of the process. For example, the use of 3D printing to produce some prototypes or certain components that could be useful for reducing time and costs. Another example is Modaris 3D, a new generation software that allows you to digitize the pattern allowing you to see it in 3D. Exploiting this software would allow to predict the potential problems of the prototype before even crafting it and would help save a lot of time and resources. Not to mention that digitized patterns can be archived and easily reused later. Moreover, the exploitation of the new generation robots to pre-cut certain components would once again allow a shorter production time and reduce costs. Couterfeiting - Another implementation opportunity is represented by counterfeiting. Now that online commerce is booming, the fake industry is at its peak and people find it difficult to distinguish between what is real and what is not. IoT technologies could help immensely with this problem. One of the interviewees working in the distribution phase told us that today when the products are shipped, in order to track them down and recognize them from counterfeits, companies install into their pockets RFID chips, small chips similar to those of credit cards. Their limitation though is that they can be traced or recognized only if scanned. The use of IoT technologies on this type of device (for example, providing the same type of support with a GPS) would allow them to be interactive and serve their purpose even better when the products are shipped all over the world. Sustainability - In recent years the problem of sustainability has become increasingly relevant, to the point that some luxury empires have been built on it, as in the case of Stella McCartney. To pay more attention to the environmental cause, fashion houses could start by wasting less resources. One way to do this could be to use software to optimize pattern placements on fabrics or on leather. Human supervision would still be required, as some pieces need to be cut from specific parts of the leather but it would certainly help in making some useful proposals. Internal communication – Internal communication is a problem at all levels of the production process. It can be an issue especially when it comes to communicating the intentions of the design team to the production and controlling the stock level in real time. In the first case, to solve the problem, we could consider the implementation of a software like PLM (Product Life Management). This type of program helps to follow the transformation from sketches to prototypes to products, providing detailed information on everything that is present on the garment, specifying consumption and costs of materials. With regard to the inventory control problem, we could again use the help of the IoT. Inventory control is a problem both in terms of raw materials (for all those houses that produce prototypes internally) and finished products. In the first case a potential solution could be to label the raw materials with magnetic labels that would allow to see immediately when the components leave the stock. In the second case, as previously mentioned, supplying the finished products with IoT chips would help to locate them and know how many are in stock. Demand forecast – Another major help that industry 4.0 could bring to fashion production is the exploitation of big data to forecast the demand. Nowadays in fact, the constant and hardly predictable changes in fashion heavily affect a demand that already has few reference standards. When it comes to forecast, several factors have an impact on it: trends, social medias, consumption habits etc. The most unpredictable of these factors is probably represented by the social media as clients may cause a peek in demand after seeing a celebrity or an influencer wearing a specific product. Giving all this, it's evident how the more variables we are able to consider when doing forecasts, the better the chances of predicting a scenario close to reality and Big Data would allow to do so. As previously mentioned we also highlighted some limits that could prevent implementation: Costs - The more significant limit when talking about this kind of technology is related to costs. It is important to consider both the ones needed to purchase the technology as well as the ones to train the employees in order to make the implementation possible. As we all know technology is extremely expensive, and in a certain way a form of luxury itself, often being just for few. The size of the brand would modulate of course the amount of the investment in it. Client perception & adverse attitude – The survey pointed out that clients are negatively biased towards technology and, if informed that the product has been realized with the help of technological means, may attribute to it a lower value. What it's necessary to keep in mind though, is that, when taking a survey, you are in front of a screen and not in front of the products. I believe in fact that if a blind test was conducted presenting two products of which one completely handcrafted and the other realized by artisans who exploited technological means as well, no one would be able to tell the difference. Training of employees - Another big challenge in the implementation of such systems is the training of the employees. Implementing these technologies for some employees may mean learning again how to do their job with the help of a computer. Being an environment where youngsters are outscored due to the lack of experience, this may represent a problem. In conclusion our research proved that there is indeed room to implement the 4.0 systems as the issues emerged can be partially, if not completely, solved by introducing these technologies making the process leaner and more efficient. Nevertheless, giving the fact that customers are negatively biased towards their use, it would be appropriate avoiding to disclose the information with them.

BODY SIZE MATTERS -EXPLORATORY STUDY ON BODY SIZE–BASED DISCRIMINATION IN EMPLOYMENT FOR FASHION DESIGNERS-

MiYoung Lee,Hayoung Hwang 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

The fashion industry is one of the most labor intensive industries, and employs over 25 million workers in over 100 countries (Reinhard, Schmidt, Rützel, & Zentgraf, 2013). There have been many concerns regarding the poor working conditions of garment workers, including their long working hours, forced overtime, and hazardous working environments, especially in developing countries. In Korea, competition has intensified within the industry with the emergence of global fashion companies, which has caused many fashion companies to move their production bases overseas in search of cheaper labor (Son, 2007). Thus, the labor problems that have arisen in the fashion industry are mostly about low wages and the poor working conditions of production workers. However, what about the labor problems of fashion industry workers other than those in production factories? Lee, Kim, Shin, Yoon, Lee, Chang, Chung, and Choi (2009) noted in their study that white-collar workers in fashion companies in Korea work longer hours, receive fewer benefits, and have a higher turnover rate than workers in other industries. In 2015, the poor working environment and low or absent wages of fashion industry interns came under public scrutiny (Kim, 2015; Kwon, 2016). In addition, there were cases in which body size was specified when hiring fashion designers, which raised the question of discrimination based on physical appearance (Kim, 2015). These employment conditions are important factors that influence fashion design majors entering the job market. Hence, regarding this and the physical body size discrimination of fashion designers in the Korean fashion industry, the aims of this paper are twofold: 1) to examine the present situation of physical discrimination by analyzing fashion companies’ job advertisements and 2) to explore fashion major undergraduates’ opinions about job criteria that indicate potential physical discrimination. Two approaches were used in this exploratory study to examine potential hiring discrimination tied to job applicants’ body size; 1) investigation of job advertisements by fashion companies and 2) focus group interviews with fashion majors seniors or graduates looking for a work as fashion designers. First, job advertisements for fashion designers placed on major fashion recruiting sites (e.g., www.saramin.co.kr, www.fashionscout.co.kr, and http://cafe.naver.com/fashionworking) in 2015 were reviewed to determine the current situation of which physical conditions or specific body measurements are set as job requirements or preferred qualifications when hiring fashion designers (n=201). Next, five focus group interviews with seven university seniors each(n=35) were conducted. No fashion companies that were looking for experienced fashion designers only (n=65) included a physical body-size requirement in the job advertisement. Thus 136 fashion designer interns or entry-level fashion designer advertisements were used in further analysis. According to the analysis of the “job requirements”, among those 136 advertisements, 51.5% required education and only 16.2% required a related major along with education, 10.3% required fitting capable size (e.g. female fitting size 55) and 13.2% even presented detailed body measurements (e.g. height 175–178 cm). Among the “preferred” qualifications mentioned in the advertisements, fitting capable size accounted for 6.6%, detailed body measurements accounted for 2%. Analysis results showed that physical conditions capable of fitting were presented more frequently than major as requirements or preferred qualifications, indicating that physical conditions capable of fitting was one of the most important factors for hiring fashion designers. Based on the five focus group interviews, participants’ opinion toward body size requirements in job advertisements were summarized into five themes: 1) Discontent over the unreasonable standard— “Why do I have to have a model figure to become a fashion designer?”; 2) Adapting to given circumstances— “I will lose weight to become a fashion designer”; 3) Frustration over reality that can’t be changed with effort— “I can lose weight, but I can’t get any taller”; and 4) Setting practical alternatives—“I can be a children’s clothing designer instead of women’s”. Most respondents shared a sense of discontent over such hiring requirements and unreasonable discrimination on the grounds of appearance, but they also showed reluctant acceptance of the unreasonable discrimination practiced by employers in the fierce job market. The physical restrictions set as requirements by fashion companies fundamentally deny opportunities to some applicants. Importantly, the outright specification of a physical condition that cannot be overcome through personal effort or improved by the cultivation of skills as a hiring requirement is an infringement upon personal rights. The fashion industry should make efforts to improve its awareness of fashion designers as specialists equipped with design competencies instead of treating them as fitting models simply to save costs.

창조산업으로서의 패션산업 지원 정책 연구 - 신진디자이너 지원 중심으로 -

최희정,주보림 사단법인 인문사회과학기술융합학회 2017 예술인문사회융합멀티미디어논문지 Vol.7 No.1

21세기에 접어들면서 창조경제의 핵심인 창조산업시대가 도래하고 있다. 창조산업으로서의 패션산업을 위한 신진 디자이너 육성을 위해 국가, 기업, 단체의 관련분야 지원 정책에 대한 발전방향을 모색하려 한다. 본 연구는 창조산업에 대한 의미를 명확히 정립하고 창조산업에 해당하는 분류체계에 대하여 분석하였다. 또한 창조경제 발전을 위한 패션산업 및 신진 디자이너 국내 지원정책과 현황에 대하여 분석하여, 창조산업을 위한 패션산업의 국내 신진 디자이너 정책에 대한 개선 방향을 제안하고자 한다. 분석결과, 창조산업을 위하여 한국 패션문화가 창의적 인재를 발굴하기 위한 전략이 성공하려면 단기적 가시적 효과보다는 장기적으로 계획하여 접근해야 할 것이다. 신진 디자이너를 육성하기 위한 독립된 정부조직을 결성하여 체계적이고 조직적으로 관리하게 조정하여 중복적인 지원을 피해야 할 것이다. 또한 신진 디자이너들의 상황과 경력에 따른 차별화된 지원과 객관적인 지원 평가 시스템이 필요하다. 마지막으로 다양한 콘테스트 등의 검증된 심사로 한국패션의 세계화에 앞장서야 할 것이다. 이를 통하여 창의성을 지닌 신진 디자이너는 21세기 창조산업인 패션산업을 견인하는 미래상을 제시할 수 있을 것이다. At the turn of the 21st century, the age of the creative industry, which is the core of the creative economy, is on its way. In this research, by analyzing the nation’s policies and the current conditions of supporting the fashion industry to develop the creative economy and rising fashion designers, this researcher attempts to propose the direction of improving the policies for the country’s rising fashion designers of the fashion industry for the creative economy. The results of the analysis showed that, for the creative industry, in order for the strategies of the Korean fashion culture to cultivate creative talents to be successful, long-term plans, rather than short-term, visible effects, should be approached. Independent government organizations to cultivate rising fashion designers should be formed for systematic and organic management and coordination, so that overlapping supports should be avoided. Also, differentiated supports based on the rising fashion designers’ circumstances and careers and the objective support evaluation system are necessary. Finally, the globalization of Korean fashion should be promoted through the proven evaluations such as diverse contests. Through this, the rising fashion designers equipped with creativity can present the future vision to lead the fashion industry as the creative industry of the 21st century.

A study on the trend and effectiveness of implementation of various Virtual Try-On models

( Junesuk Park ),( Dayoung Ju ) 한국감성과학회 2022 춘계학술대회 Vol.2022 No.-

Virtual Try-On has various methods applicable to 2D and 3D. Among them, in this paper, we would like to focus on how to use Virtual Try-On that can be applied to 2D photos. Virtual Try-On is to fit the clothing product image to the human body image, similar to the old sticker doll dress-up game. By using Virtual Try-On, it is possible to synthesize clothing product images without additional graphic manual work on the human body. It can be used in various fields including the fashion industry. In this paper, we would like to discuss the Virtual Try-On method that can be used in the fashion industry. In the past, because a lot of money was invested in professional fashion pictorials and products, it became a big burden for small new fashion brands that lack financial resources to shoot fashion pictorials and products. In order to solve these problems, in this paper, we would like to present a method of using Virtual Try- On in connection with government-supported projects. Virtual Try-On can be implemented in various ways such as CP-VTON, VTON, VTNFP, ClothFlow, ACGPN, etc. In this paper, the test was conducted using the method called VITON-HD. Due to the recent COVID-19 outbreak, winds of change have blown in various industries around the world. To prevent the spread of the epidemic, countries have locked their doors to foreigners, and airports have been closed. These winds of change have brought about great changes to the fashion industry as well. In the past, famous fashion companies have been competing for fashion photo shoots with famous models in many wonderful tourist destinations. However, as it became impossible for models to travel domestically and abroad, including overseas travel, the fashion industry had to find new alternatives. In the midst of such changes, virtual influencers such as 'Metaverse Worldview' and 'Rozy' appeared. The reasons why virtual influencers have attracted attention in the fashion and advertising industries are as follows. 1) No restrictions on working hours. 2) Irrespective of the place of work 3) There is no need to fit the model's personal schedule, mood, condition, or other needs, and there is no need to be interrupted. This paper summarizes the Virtual Try-On trend that can increase productivity within the virtual influencer and metaverse, and aims to share the research results on various methods that can be effectively and inexpensively used by many in the fashion industry. Fashion item image data accumulated on the public data platform can be utilized in various fields that use graphic technology, such as the game industry and the advertising industry, in addition to the fashion industry. A typical similar example is the Marketplace of Unreal Engine and Quixel linked to the Marketplace. Unity's asset store can be treated as a similar example. The emergence of a common data platform for fashion item images with such a common format will promote the expansion of the metaverse's application area.

패션 산업에서의 지적재산권과 법적 보호의 문제점

黃由善(Yoo-Seon Hwang) 한국기업법학회 2012 企業法硏究 Vol.26 No.1

The purpose of this paper is to effectively protect intellectual property rights in Fashion industry. In Law, intellectual property rights is classified as ‘Industrial Property’ and ‘Copyright’. But this classification is not appropriate to discuss issues of Fashion Industry. Because Fashion industry has both industrial and artistic aspects. Intellectual property issues in Fashion industry, mainly occur in the area of design and trademark. Design right and Copyright are related to fashion design. Trademark right is related to fashion trademark. And the Unfair Competition Prevention Law complementally protects the fashion design and the fashion trademark. Annually each company produces hundreds of fashion design. But the number of Design registration is too small. The reason is as follows: the short fashion cycles, the cost and time of registration, the distrust of the legal protections. Thus, most of fashion designs is unregistered. It can be protected by the Unfair Competition Prevention Law. But the design or mark must be widely known to the public in Korea. In domestic fashion industry, there are only a few companies to meet this legal requirement. Most fashion companies are small and unknown. In the case of the domestic fashion industry, the Unfair Competition Prevention Law is not effective. Under the current law, it is not perfect to protect intellectual property rights in Fashion industry. Because there are some problems related to a distrust of the legal protections, a lack of awareness of intellectual property rights, a lack of legal systems, and the situation in the domestic fashion industry. Considering these problems, as of now it will be effective to recognize ‘Fashion Design’ as ‘Works of applied art’ and protect it as ‘Copyright’. However, if the specific standards of similarity can be set, the trust of the legal protections will be recovered and the number of Design registration increase. Ultimately it would be more effective to protect the fashion design by the Design Protection Act.

뉴미디어 및 인터넷 시대에 부응하는 패션산업의 새로운 동향

김수진,한명숙 服飾文化學會 2002 服飾文化硏究 Vol.10 No.3

This paper describes the new trends of fashion industry in the era of digital media and Internet paradigm, where fashion is no longer just static contents. Fashion becomes crucial and dynamic contents for infotainment, mobile Internet, and digital media. As therefore, the fashion industry could be positioned as fashion information industry and key elements of fashion communication. In the future, fashion education should be repositioned as dynamic Intermediary not only for traditional textile design, costume design, and merchandising, but also for dynamic fashion information provider, fashion communication and fashion-oriented media related to digital Information, and Internet. As a case study, we briefly describe the successful co-marketing strategies of world-class luxury fashion brands, fashion media, and Internet service provider.

패션산업의 분쟁 유형에 따른 중재적합성

이재경 한국중재학회 2019 중재연구 Vol.29 No.1

The fashion industry has been growing in Korea, but the law and the dispute resolution have been less than effective so far. Copyright and patent law have proven only minimally effective in fashion, ending up with designers and fashion companies relying on their trademarks to protect their design. Litigating trademark disputes in the fashion industry presents a host of problems and leads to resorting to the Alternative Dispute Resolution (ADR). ADR methods, especially arbitration, however, are emerging as substitutes to litigation. Using these methods, the fashion industry should sincerely consider a self-regulating program in which its members—both fashion designers and corporations alike —can resolve disputes in a manner mutually beneficial to all parties in order to preserve the industry's growth, solidarity, and esteem. From 2016, KCAB’s Fashion Industry Dispute Advisory Committee (FIDAC) for ADR has promoted a better solution for disputes in the fashion industry. Therefore, stakeholders in the fashion industry should commit to procuring innovation in fashion on a long-term basis by establishing a panel handling an alternate dispute resolution process. The ADR process can mitigate the uncertainty created by relevant legislation or any other disputes, which could result in shying away from any business in the fashion industry. 특정 산업의 분쟁 자체의 발생은 사전에 인식하지 못하더라도, 분쟁의 사후적인 해결에 대한 예측가능성을 제공하는 것은 사업자, 이해관계자들의 입장에서는 중요하다. 그렇다면, 특정 산업의 선진화 및 안정화 여부는 불가피하게 발생하게 되는 분쟁의 해결 체제가 얼마나 효율적으로 갖추어졌느냐의 문제로 귀결된다. 패션산업의 분쟁은 나날이 변화 속에서 더 많은 당사자들의 다양한 관계가 얽혀 발생하기 때문에, 각 분쟁 형태마다 그 쟁점을 정확히 파악하고 분쟁 해결의 효율성을 확보하기 위해서는 분쟁의 유형을 적절히 분류하고 분석함과 동시에, 유형별로 중재적합성을 판단해야 하며, 이러한 작업을 통하여 패션산업의 선진화에 기여하고자 한다. 디자인, 상표권 분쟁을 포함하여 4차 산업혁명 시대에 예상되는 분쟁 유형까지 11개 유형별로 분석함과 동시에 법원의 소송절차를 뛰어넘는 대체적 분쟁해결제도(ADR; Alternative Dispute Resolution), 그 중에서도 신속성, 전문성의 측면에서 가장 고도의 효율성을 담보할 수 있는 “중재”의 적합성을 판단해야 한다. 별도의 중재해결기구나 절차가 있는 도메인, 노동, 소비자 분쟁, 불공정행위 등의 경우에는 중재의 필요성이 떨어지지만, 디자인 등 지적재산권 분쟁이나 라이센스, 협력사 등 내부 분쟁의 경우. 법원의 소송절차에서는 찾아볼 수 없는 중재 제도의 장점을 적극적으로 살려야 할 것이다. 관할권 문제를 손쉽게 해결할 수 있는 국제거래 분쟁이나 4차 산업혁명 등 새로운 기술, 산업 상황과 관련하여 예측할 수 없도록 발생할 새로운 형태의 분쟁에도 중재 적합성이 강조되어야 한다.

SUSTAINABLITY OF SUSTAINABLE FASHION PRODUCTS AND IMPACT OF BRAND NAMES AND CAUSE-RELATED MARKETING ON PURCHASE INTENTION

Sookhyun Kim,Hyunshin Na 글로벌지식마케팅경영학회 2015 Global Fashion Management Conference Vol.2015 No.06

In the fashion industry, designers and researchers have proposed various sustainable fashion products (i.e., sustainability in product development), and retailers have also created many sustainable business practices (i.e., sustainability in distribution). However, according to the previous researches, even though the industry have offered a variety of sustainable designs and retail offers, consumers did not show a positive purchase behavior on the sustainable products. Currently, the gap exists between industry offers for sustainability and consumers’ expectation/acceptance of those offers. This result supports that there are other aspects than environmental protection aspect of the sustainable fashion products that need to be improved and/or be emphasized on to make consumers feel confident in purchasing. To examine consumers’ purchase behavior changes on sustainable fashion products, this study will measure consumers’ equity of sustainability on existing sustainable fashion products with three criteria of sustainable designs proposed by Day and Townsend (1993), which are socially equitable, economically viable, and environmentally benign. Then, consumers’ purchase intention for sustainable fashion products will be measured. The result will show the sustainable fashion product types that currently satisfy consumers so that the industry can concentrate on and develop the types further. In addition, this study will explore the impact of well-known brand names and cause-related marketing whether they would improve consumers’ purchase intention towards sustainable fashion products. No research has studied these two variables for sustainable fashion products as well as the equity of sustainability. Finally, different benefit sought groups will be tested whether they show different acceptance/preference and impact of brand names and cause-related marketing on the sustainable fashion products so that companies can set the appropriate strategies based on their target market’s benefit sought. PROPOSED MODEL AND HYPOTHESES Based on previous researches, the authors propose a new model shown in the figure 1, and the hypotheses are developed based on the model. H1. Significant differences in equity of sustainability, purchase intention before and after cause-related marketing and the relationships in the model. H1-1. Consumers will differently evaluate equity of sustainability of each sustainable fashion product type. H1-2. Consumers will have different purchase intention on each sustainable fashion product type. H1-3. Consumers will have different purchase intention on each sustainable fashion product type after cause-related marketing. H1-4. Equity of sustainability will significantly influence on purchase intention in all sustainable fashion product types. H1-5. Cause-related marketing will significantly improve purchase intention in all sustainable fashion product types. H2. Significantly different results in H1 between benefit sought groups. H2-1. Benefit sought groups will have significantly different equity of sustainability on all sustainable fashion product types. H2-2. Benefit sought groups will have significantly different purchase intention on all sustainable fashion product types. H2-3. Benefit sought groups will have significantly different purchase intention on all sustainable fashion product types after cause-related marketing. H2-4. Benefit sought groups will show a different relationship between equity of sustainability and purchase intention in all sustainable fashion product types. H2-5. Benefit sought groups will show a different influence of cause-related marketing on purchase intention in all sustainable fashion product types. H3. Significantly different results in H1 after adding well-known brand names on sustainable fashion product types. H3-1. Equity of sustainability will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-2. Purchase intention will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-3. Purchase intention after cause-related marketing will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-4. The relationship between equity of sustainability and purchase intention will be different after adding well-known brand names in all sustainable fashion product types. H3-5. The influence of cause-related marketing on purchase intention will be different after adding well-known brand names in all sustainable fashion product types. H4. Different results from H2 after adding well-known brand names. H4-1. The significant difference of equity of sustainability between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-2. The significant difference of purchase intention between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-3. The significant difference of purchase intention after cause-related marketing between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-4. After adding well-known brand names, the result of the relationship between equity of sustainability and purchase intention in each benefit group will be different in all sustainable fashion product types. H4-5. After adding well-known brand names, the result of the relationship between cause-related marketing and purchase intention in each benefit sought group will be different in all sustainable fashion product types. RESEARCH METHOD A simple black dress which is the product silhouette consistently shown through all sustainable fashion product types and relatively low involved when purchasing was selected to minimize the cognitive effort to process/judge the product attributes (Tucker, Rifon, Lee & Reece, 2012). The equity of sustainability is determined as an average score of economic viability, social equity, and environmental responsibility of each sustainable fashion product type. Benefit segments most commonly studied in the previous researches are selected for this study which are price-conscious, fashion-conscious, brand-conscious, convenience-conscious, quality-conscious, self-express, and self-confidence groups. Brand name is a moderator variable to test the brand name effect on participants’ response. Two different versions of questionnaires were distributed. One version shows brand names on the product types, which are selected as reliable brand names from a pretest in terms of quality and credibility, and the other version does not show any brand names on the product types. The reliable brand names are luxury brands such as Ralph Lauren rather than middle to low-priced brands. Both versions include the question for purchase intention before and after cause-related marketing (e.g., “If 10% of this sales is donated to a non-profit organization to preserve our environment, I would buy this item.”). Only female consumers are allowed to participate in the survey because the stimuli are dresses. Surveys were distributed by a commercial survey data collection company. Total 399 surveys were usable (non-brand version, n=190; brand name version, n= 209). The majority of participants are between 25 to 44 years old (22-34 years 49.1%, 35-44 years 16.8%) and has a college degree (college degree 52.6%, graduate school degree 25.8%). RESULTS & CONCLUSIONS From the data analysis (see table 1), non-brand companies would have a benefit by offering transformable products in which consumers feel more value than other sustainable fashion product types. When showing luxury brand names, participants evaluated upcycling products as the highest equity of sustainability and purchase intention after cause-related marketing. The zero waste luxury brand product received the highest purchase intention before cause-related marketing and also received a significantly higher equity of sustainability than the non-brand zero waste product. Therefore, it is recommended for luxury brands to show their sustainability practice on the product through labels, especially showing a zero waste production label. The result in all sustainable fashion product types regardless of brand names showed that the higher sustainability, the higher purchase intention. Thus, again, it is important for companies to educate their sustainability practices (e.g., economic, social and environmental values) to consumers through either promotions or labels on the products. For both non-brand and luxury brand products, promoting a donation or support for community/society (i.e., cause-related marketing) on the product would influence consumers' purchase decision when selling the upcycling, recycling and promotion on fashion products. For example, companies could create/include a symbol of their cause-related marketing or include a symbol of a non-profit organization on the sustainable fashion products. Considering different benefit sought groups, the high fashion involved group scored the variables higher in most sustainable fashion product types in the model than the low fashion involved group did. When companies plan to offer sustainable fashion products, they need to target the high fashion involved group for a better sales outcome. Even though participants perceived that the upcycled product was highly sustainable, they purchased different product types. The high fashion involved group highly intended to purchase the transformable product in the non-brand product types and the animal-free product in luxury brand product types in both before and after cause-related marketing. Luxury brands are the ones typically consume most real animal furs and skins, and this might influenced the participants’ purchase intention. The low fashion involved group were willing to purchase the product with organic materials in both non-brand and luxury brands, but cause-related marketing increased the purchase intention on the most of product types. Companies targeting a low fashion conscious group are suggested developing/promoting organic fashion products and actively promote their community/society involvement. Regardless of benefit sought groups, higher equity of sustainability generated higher purchase intention. Again, companies need to inform/promote their sustainability practices to consumers through products or media to improve sales. The impact of cause-related marketing on the purchase intention was significant for the low fashion involved group in the upcycling, recycling, promotion on the product, zero waste and transformable products regardless of brand names. Therefore, when companies cannot appeal consumers with their brand names, the cause-related marketing plays an important role. The low fashion involved consumers seem to consider the after-purchase impact on the society than product itself when purchasing sustainable fashion products. The cause-related marketing had less impact for the high fashion involved group on their purchase intention than the low fashion involved group; however, the purchase intention of non-brand upcycling and the upcycling, recycling and promotion on the product for luxury brands have significantly improved after cause-related marketing. Companies, especially luxury brand names, need to include cause-related marketing when selling those product targeting the high fashion involved group.