한국, 미국, 스웨덴의 소비문화 비교 -성별, 세대별 차이를 중심으로-

김선우 ( Sunwoo Kim ) 한국소비자학회 2013 소비자학연구 Vol.24 No.3

본 연구는 시장이 세계화되고 글로벌기업의 활동이 활발해지면서 소비문화 이해의 중요성이 점점 더 커지고 있다는 점에 착안하여 한국, 미국, 스웨덴 삼국의 소비문화를 비교하고 성별, 세대별 소비문화 차이를 살펴보았다. 한국, 미국 및 스웨덴 삼국의 20~40대 성인 각 500명 등 총 1,500명을 조사대상으로 온라인조사를 실시하였으며, 조사도구는 김선우와 김난도(2011)의 연구에서 개발된 소비문화 차원 척도를 적용하였다. 연구결과, 세 국가에서 모두 상징지향적 소비수준보다 기능지향적 소비수준이 높게 나타났고, 사회지향적 소비수준보다 개인지향적 소비수준이 더 높게 나타나 소비의 의미는 보편적으로 기능적이고 개인적인 특성를 지닌다고 할 수 있다. 한국, 미국, 스웨덴의 소비문화적 특징을 살펴보면, 한국은 집단주의 문화권에 속하여 타자승인지향적이고 미국은 개인주의 문화권의 영향으로 개인지향적이었으며, 한국과 미국이 상징적 소비성향이 높은데 반하여 스웨덴은 전반적으로 소비성향이 낮고 개인적 기능지향 차원에 대한 고려가 발견되었다. 성별과 연령대에 따른 소비문화 수준을 살펴본 결과, 상징적 소비차원에서 두드러진 차이를 발견할 수 있었다. 성별에 따라서는 여성이 개인적 상징에 더 큰 비중을 두는 반면 남성은 사회적 상징에 상대적으로 더 큰 비중을 두고 있었다. 한편 젊은 층일수록 상징 차원의 소비수준이 더 높게 나타났는데, 기능적 소비차원의 경우 성별과 연령대에 따른 차이가 상대적으로 미미하거나 없는 것으로 나타났다. 이상의 연구결과를 바탕으로 글로벌마케팅에 대한 시사점을 도출해보면, 한국에서는 사회적 상징, 미국에서는 개인적 상징으로 소구하고 스웨덴에서는 기능적 혜택을 제공하는 것이 중요하다. 또한 여성은 개인적 상징에 더 어필하며 남성에게는 사회적 상징을 강조하는 것이 소구 포인트가 될 수 있겠다. 아울러, 20대는 상징적 소비에 매 우 적극적이었으므로 20대를 대상으로 한 마케팅 커뮤니케이션을 원활하게 하기 위해서는 20대가 원하는 상징의 기원 및 유포과정에 대한 보다 심층적인 후속연구가 필요할 것으로 보인다. In the era of globalization since 1990``s, many global companies are actively pursuing crosscultural consumer understanding for optimized marketing decision. A lot of marketing efforts may be wasted or even hurt its brand due to the cultural or linguistic failure. With this background, culture has been a major research theme in the field of consumer studies, business management and consumer psychology. But the early researches with cross-cultural perspectives were mostly adopted qualitative ethnographic research methods to understand various aspects of the consumer culture. Empirical researches for cross-cultural consumer understanding from the global point of view are still emerging area. This research aimed to understand consumer culture and investigate gender and generation difference in the global context. An online survey was conducted to the 1,500 respondents in 20``s to 40``s of three metropolitan cities in Republic of Korea, USA and Sweden: Seoul, New York, and Stockholm. The dimensions and measures of consumer culture were adopted which was developed by S. Kim and R. Kim in 2011. Shortly introducing the dimensions and measures of consumer culture, consumer culture can be defined as an interaction of meaning via consumer goods, and herein, a meaning and an interactivity can be the main analysis unit. A consumer culture is classified into two dichotomies by meaning and interactivity; functional-symbolic and individual-social. These two dichotomies are combined into a 2×2 cross-classification, and four-celled dimensions of consumer culture are produced; individual-functional, socio-functional, individual-symbolic and socio-symbolic. Each dimension has two sub-dimensions; ‘economical efficiency’ and ‘frugality’ (individual-functional dimension), ‘fun pursuing’ and ‘self expression’(individual-symbolic dimension), ‘approval by others’ and ‘brand-good preference’(socio-symbolic dimension), and ‘ethical action’ and ‘pro-environmental action’(socio-functional dimension). The main findings from the study are as below. First, consumption is dominantly perceived as a functional and individual human activity with the finding that the functional consumption level was apparently higher than the symbolic and the individual consumption level was higher than the social. There was no significant difference in the ‘economical efficiency’ by country while it was scored around 4 points among 5 points likert type scale. ‘Economical efficiency’ is perceived as the main consideration point for consumers in the developed market economy countries to achieve a consumption task. Second, Korean consumers scored higher in ‘approval by others’ based upon their collectivism culture, while American consumers concerned more on ‘self expression’ influenced by their individualism culture. Swedish preferences were more located in individual-functional dimension, while Korean and American were striving more individual or social symbolic consumption. This finding supports the theory that culture and consumption is interdependent. Third, there was an apparent difference in symbolic consumption by gender and generation but there was no significant difference by age and generation in the functional consumption. By gender, female was more focused on individual symbol but social symbol and ‘brand good preference’ was more important to western male. This is an evidence that the consumption is a mechanism to form and reinforce culture and habitualize its fixed stereotype systematically. In the perspective of generation, the younger was attached more to the symbolic consumption than the older. Generational commons were found in 30``s and 40``s in Korea and 20``s and 30``s in America and sweden. This can be explained that the maturity of the market economy and that of the consumer culture is closely related with each other. In western society, the market economy was already matured in early 1970``s and the generation X in 30``s and the early 40``s is the first generation born to be a consumer. But Korea was transformed to the consumption society after the middle of 1980``s and the generation Y in their 20``s and early 30``s has its own identity as homo consumens. One more discussion point from the generation difference perspective is that the younger in America and Sweden is more eager to the ethical and pro-environmental consumption activity while the older has higher tendency in the socio-functional consumption activities in Korea. This can be explained that the long civic engagement tradition in the western country affects consumer culture as well. To expand ethical and pro-environmental consumption in young generation, it is important for them to provide an well-organized education program to reinforce Korean civil society and enhance their identity as consumer citizen. This research tried to provide business managerial implication from the global marketing``s point of view and ultimately to contribute to the expansion of empirical consumer culture study. The research findings imply several managerial implications for efficient global marketing. Frist, Korean``s aspiration is a social symbol but an individual symbol appeals to American, while Swedish is mainly focusing on the functional benefits. In addition, female prefers to individual symbols but social symbols are the key for the male targeted marketing. Furthermore, Y generation in their 20``s and in early 30``s is eager to consume the symbolic images, which need to be deeply explored more on to understand the nature of the symbols and their preferred touch points. This research has some limitations as below. First, this research didn``t limit the product category and measured the overall consumer culture. If the different category dynamics can be considered in the future research, it will be much more clear to understand the cultural differences and to provide more sharpened implications. Furthermore, there was a tendency of lower score in some question items from Swedish consumers even though the author tried to make a best effort to achieve equivalence of the measures. More thorough approach should be considered to understand the cross-cultural differences in the response styles for the elaborate cross-cultural comparison study. Finally, this research only included countries with matured market economy but it is suggested to consider developing countries or eastern european countries as well to investigate the consumer adjustment process and their identity as consumer.

문화예술상품에 대한 소비자의 가치인식과 추구혜택에 관한 질적 연구

이영선,신은주 한국마케팅학회 2011 ASIA MARKETING JOURNAL Vol.12 No.4

This research attempted to present the efficiency of culture marketing to the organizations producing culture-art products and to the companies utilizing art and suggest the practical viewpoints to the culture and art policy agencies. The methodology used was to take an in-depth look at the consumer value cognition and benefits of culture-art products in contemporary consumption culture from a social context by conducting a total of 12 Focus Group Interviews, consisting of 58 males and females in their 10s~50s who can represent culture-art product consumers. The culture-art products refer to the artist's spiritual, actual act of creating or to the end products with economic exchange value. They are also sense goods and merit goods that affect the mental state of consumers. By looking at culture-art products as consumer merit goods, this research examined consumer value cognition of culture-art products based on the characteristics culture-art products. As a result, this research determined that consumers view culture-art products largely as ‘aesthetic and sensuous merit goods’, ‘actual and individual merit goods’, and ‘social public property’. As ‘aesthetic and sensuous merit goods’, culture-art products are considered as the products of an artist’s creative activities; as ‘social public property’, culture-art products have a public value in terms of ownership; and as ‘actual and individual merit goods’, culture-art products act on the spirit and reality of a consumer in terms of consumption. As a result of analyzing the benefits of culture-art products based on the above-mentioned consumer value cognition, it was observed that the benefits of culture-art-product consumption are chiefly divided into ‘aesthetic character-oriented’, ‘social relationships-oriented’, and ‘individual benefits-oriented’ depending on how consumers see culture-art products. A 3-conceptional structures model was constructed according to the relationship between consumer value cognition of culture-art products and the benefits. This research revealed that consumers who pursue the aesthetic value or sense of beauty as the central reason experience culture-art products themselves, enjoy intellectual quests, and pursue their satisfaction by expressing affection for and interests in culture-art products. On the other hand, consumers who pursue social value as the central reason as a means of communication by perceiving culture-art products as a public property of society, pursue sympathy with people close to them through the symbolic power of culture-art product consumption or the joy of self-display. Consumers who perceive art products as spiritual and actual merit goods and pursue consumer value as a central reason want to express their own personality, develop themselves, and differentiate themselves or identify themselves with others in the context of social relations for the ultimate goal of living a happy and satisfied life while pursuing to satisfy imminent and actual necessities as emotional stability and rest. The fact that culture-art product benefits could vary according to how a consumer perceives them implies that consumer value cognition of culture-art products and their benefits significant affect consumers' decision in choosing and consuming various culture-art products. It turned out that such benefits from the consumption of culture-art products reflect the complex contemporary consumption culture of rational consumption, symbolic consumption, experiential consumption, and social reflective consumption. This research identified conceptional structures of consumer value cognition on culture-art products and benefits that can be used for studying and understanding culture-art products consumers who pursue a variety of consumption values. They can also be used by private companies in utilizing art, as well as by national agencies in enhancing the population’s quality of life. However, since this... 본 연구는 문화예술상품 소비자 연구를 위한 개념적 구조를 마련하고, 문화예술상품 생산기관 및 문화예술정책기관과 문화예술을 활용하는 기업의 문화마케팅의 효율성을 위하여 문화예술정책기관에 실무적 시사점을 제시하기 위하여 실시되었다. 현대소비문화 속에서 문화예술상품 소비자의 가치인식과 추구혜택을 사회적 맥락에서 심층적으로 파악하기 위해, 문화예술상품 소비자를 대표할 수 있는 10대부터 50대까지의 남녀 58명을 12개의 그룹으로 나누어 총 12회에 걸친 표적집단면접(FGI)를 실시하였다. 문화예술상품은 예술가의 정신적․관념적 창작행위나 그 결과물인 작품에 경제적 교환가치가 부여되어 소비되는 상품이다. 문화예술상품의 특성을 바탕으로 문화예술상품에 대한 소비자의 가치인식의 개념구조를 알아본 결과 ‘실제적․개인적 가치재’, ‘사회적 공공재’, ‘미학적․감각적 경험재’로 나타났으며, 경험적 소비재의 관점에서 문화예술상품 소비 추구혜택의 개념구조를 알아본 결과 ‘예술적 특성지향’, ‘사회적 관계지향’, ‘개인적 유익지향’의 방향성을 가지고 있는 것으로 나타났다. 문화예술상품 소비에 대한 이와 같은 소비자의 가치인식과 추구혜택의 개념구조는 합리적 소비, 기호 상징적 소비, 경험적 소비, 반성적 소비라는 복합적인 현대소비문화가 반영된 것으로 해석 할 수 있다. 문화예술상품에 대한 소비자 가치인식과 추구혜택의 관계를 개념적으로 분석한 결과 문화예술상품 소비자의 가치인식에 따라 추구혜택이 다르게 나타나는 것을 확인할 수 있었다. 이러한 결과는 문화예술상품에 대한 소비자의 가치인식이 추구혜택의 특성을 형성하며, 소비를 결정하고 문화예술상품을 선택하는데 있어서 중요한 영향을 미칠 수 있다는 것을 시사하는 것이다. 본 연구 결과로 나타난 가치인식과 추구혜택의 개념구조는 문화예술상품 소비자 연구의 측정도구 개발에 사용될 수 있으며, 기업의 효율적인 문화예술마케팅 전략 및 소비자 중심의 문화예술상품 생산과 국민의 삶의 질을 향상시키고자 하는 국가기관의 정책 수립에 필요한 소비자 정보로 활용될 수 있을 것이다.

소비문화의 차원화 및 척도개발 -서울, 뉴욕, 스톡홀름의 소비자를 대상으로-

김선우 ( Sun Woo Kim ),김난도 ( Ran So Kim ) 한국소비자학회 2011 소비자학연구 Vol.22 No.4

소비문화 연구에 대한 관심이 학문적으로는 물론 비즈니스 실무적 접근을 위해 점점 더 커지고 있다. 본 연구는 실증적 소비문화 연구를 위하여 소비문화의 차원화를 시도하였다. 소비문화연구의 사적 고찰을 통하여 소비문화는 소비재를 매개로 한 의미의 상호작용으로 발현된다는 것을 발견하였으며, 소비문화의 주요한 분석단위로 의미와 상호작용을 활용하고자 하였다. 소비문화는 의미성에 따라 기능과 상징의 범주, 그리고 상호작용성에 따라 개인적 상호작용과 사회적 상호작용의 범주로 구분될 수 있다. 각 범주를 두 개의 축으로 삼아 개인적 기능, 개인적 상징, 사회적 상징, 사회적 기능의 네 개의 소비문화 차원이 도출되었다. 소비문화의 각 차원은 두 개의 하위차원으로 구성 되는데, 개인적 기능 차원은 경제성과 검약지향, 개인적 상징 차원은 향유와 자기표현지향, 사회적 상징 차원은 타자승인과 유명선호지향, 그리고 사회적 기능 차원은 친사회와 친환경지향의 하위차원으로 이루어진다. 소비문화 차원의 척도 개발을 위하여 대한민국 서울, 미국 뉴욕, 스웨덴 스톡홀름의 세 도시 20-40대 소비자 각 500명 등 총 1,500명을 대상으로 2006년 9월 온라인설문조사를 실시하였다. 연구결과, 소비문화의 차원 측정을 위하여 총 20개 문항의 조사도구가 최종적으로 개발되었다. 본 연구는 소비문화의 두 차원인 의미성과 상호작용성에 기반하여 소비문화를 실증적으로 측정할 수 있는 척도를 개발하였다는데 그 의의가 있다. 상징적 의미 범주에 속하는 차원간 및 기능적 의미 범주에 속하는 차원간의 상관관계가 각각 매우 높게 나타나 기능과 상징이 소비문화 차원화를 위한 명확한 기준임을 확인하였으며 사회적 기능 차원은 상징적 의미 범주와 정적인 관계를 보이고 있어 일정 부분 상징적인 의미를 제공하는 것으로 해석된다. 본 연구에서 개발된 척도를 활용하여 향후 각 국가별 소비 문화 비교분석 및 그 원인파악에 대한 후속연구가 진행되어야 할 필요성이 제기된다. It is demanding to understand a consumer culture for academic interests and for the business success as well. This research tried to find dimensions and measures of consumer culture, which enable consumer culture researchers to conduct an empirical cross-cultural comparison study with elaborated tools. To develop an internationally applicable measures, authors selected three representative countries with consideration of the structural differences in economic level and economic system; south Korea, USA, and Sweden. While both USA and Sweden are included in the western culture and have a GDP of 40,000 US dollars, USA adopts a typical free market economy and Sweden is the representative of adjusted market economy. South Korea is originally embodied with the Asian culture and has a GDP of 20,000 US dollars. Consumer culture is a whole body of consumer lifestyle, which addresses all the consumptionrelated practices in our everyday lives. Through the historical review of consumer culture studies, authors found that the meaning of consumer culture expanded from the functional to the symbolic. While the original nature of consumption is to fulfill functional needs, more focus is putting on the capability to create a symbolic meaning of consumption in the modern consumer society. In addition, consumption includes social interaction. The meaning of consumption goods have a movable nature and function as media of communication. Social interaction through consumption can be divided into two categories; individual dimension such as hedonic symbol and social dimension such as social distinction. In the modern consumer society, consumption is more getting to imply the relations between peoples. Sustainable consumer culture, which is considered as one of the alternative consumer cultures, functions positively to the society and to the environment as well. Moreover, sustainable consumer culture implies interactions between individual and the society as well as interactions between individuals and the environment. Authors found that a consumer culture is an interaction of meaning via consumer goods, and herein, a meaning and an interactivity can be the main analysis unit. A consumer culture is classified into two dichotomies by meaning and interactivity; functional-symbolic and individualsocial. These two dichotomies are combined into a 2×2 cross-classification, and four-celled dimensions of consumer culture are produced; individual-functional, socio-functional, individualsymbolic and socio-symbolic. Each dimension has two sub-dimensions; ``economical efficiency`` and ``frugality``(individual-functional dimension), ``fun pursuing`` and ``self expression``(individualsymbolic dimension), ``approval by others`` and ``brand-good preference``(socio-symbolic dimension), and ``pro-social action`` and ``pro-environmental action``(socio-functional dimension). To validate the measure of consumer culture dimensions, an online survey was conducted in September 2006. The respondents were 1,500 consumers in their 20`s to 40`s of three metropolitan cities in Republic of Korea, USA and Sweden: Seoul, New York, and Stockholm. As a result of survey, a questionnaire with 20 questions was developed to measure consumer culture dimensions. A consumer culture was apparently dimensionalized by the meaning category, functional-symbolic with a high corelation between the dimensions in symbolic and in functional meaning category separately. In addition, a socio-functional dimension provides symbolic meaning to consumers with a positive relationship with symbolic meaning category. The symbolic nature of the consumption in the socio-functional dimension gives us an insight for the sustainable consumer culture expansion. If the symbolic meaning of the consumption in the socio-functional dimension can be discovered by country/cultural level, the sustainable consumption practices can be triggered voluntarily by consumers. This research contributes to the field of empirical cross-cultural consumer research by establishing the dimensions and by developing measures of a consumer culture. The dimensions and measures of consumer culture are expected to be a start point to understand of the each country`s consumer culture and compare consumer culture with another one. For further consumer culture study, a phenomenal research can be combined with to explore the origins and the roles of the meaning of consumer goods and the direction of the interaction through the consumption.

한국, 미국, 스웨덴 소비문화의 탐색적 비교

김선우(Kim, Sun Woo) 한국소비문화학회 2012 소비문화연구 Vol.15 No.2

소비는 현대 사회의 가장 중요한 문화 키워드이다. 소비문화연구의 활성화를 위해 비교문화적 관점의 도입이 학문적으로는 물론 실무적으로도 매우 필요하다는 점에 착안하여 본 연구는 소비문화의 탐색적 비교연구를 실시하였다. 기존의 소비문화에 대한 이론적 연구를 정리하고, 한국, 미국, 스웨덴 삼국의 문화적 특성이 각 국가의 소비문화에 어떠한 영향을 미치는지 살펴보고자 하였으며 각 국가의 문화적 특성을 살펴보기 위해서 Triandis(1995)의 문화차원을 활용하였다. 한국, 미국, 스웨덴 삼국 소비문화의 일상적인 구조를 파악하기 위하여 한국과 미국, 혹은 한국과 스웨덴의 문화에 동시에 익숙한 소비자를 대상으로 심층면접을 실시하였다. 연구결과, 미시적 영역의 소비문화는 기존의 문화를 그대로 재현한다. 문화의 재현은 특히 개인주의-집단주의 성향에 있어 강하게 나타났는데, 미국과 스웨덴의 개인주의는 소비영역에 있어서도 남을 의식하지 않게 하지만 한국의 집단주의는 타자의 시선이 소비의 중요한 동인이 되게 한다. 한편 미시적 소비문화영역에서와는 달리, 기부, 환경친화적 소비 등 사회 및 환경과의 상호작용을 포함하는 거시적 영역의 소비문화에서는 소비관행이 문화와 괴리된 양상으로 발현되는 것을 발견할 수 있었다. 아울러, 탈물질주의 사회에서는 소비가 갖는 상징성이 약화됨에 따라 소비를 통한 자기정의 및 집단정의의 중요성이 낮아지고, 대중소비사회에서 다원적인 문화사회로의 전환이 이루어짐에 따라 경험적 소비가 확장되고 있었다. 마지막으로 소비문화가 소비자들의 성찰적 기획을 통한 새로운 문화의 창조적 기제로서도 역할 가능함을 확인하였다. 본 연구는 소비문화 비교연구를 위한 탐색적 시도로서 본격적인 실증연구를 위해서는 다각적인 탐색적 연구들을 통하여 정제된 문항 풀을 추출할 수 있어야 하며 이를 통하여 다양한 문화범주에서 공통적으로 활용할 수 있는 문화연구의 척도를 마련할 수 있을 것이다. 한편 거시적 소비문화영역에서의 소비관행 및 영향요인, 그리고 탈물질주의 가치관과 경험적 소비문화에 대한 후속연구의 필요성이 제기된다. Consumption is the most important cultural keyword in the modern society. This study tried an exploratory comparison of consumer culture of Korea, USA and Sweden in response to the needs on cultural comparison research perspective. Triandis’s cultural dimensions were adopted to explore each country’s cultural characteristics. A qualitative in-depth interviews were conducted to consumers who lived both in Korea and USA, or in Korea and Sweden, which enabled them to get familiar with each country’s consumer culture. The research found that the culture is projected to the consumer culture in a micro domain. The individualism allowed consumers in USA and Sweden to be unconscious of other’s eyes. But collectivism in Korea made Korean consumers locked in other’s judgement. In contrast, in a macro domain of consumer culture such as donation and pro-environmental consumption, consumption practices were in a dissonance with their cultural orientation, where includes interaction with society and environment. In addition, in a post-materialistic society, symbolism of consumption goods gets weakened and experiential consumption evolves with a transition from mass consumption society to plural culture society. Lastly, consumer culture functions as a creative mechanism of new culture by consumer’s reflexive planning, which is one of the clues of an autonomous consumer culture. This study tried to explore the consumer culture of Korea, USA and Sweden as an exploratory trial for the comparison of consumer cultures. To increase empirical consumer culture study, refined questionnaire item pool is to be extracted through various exploratory researches, which can be utilized commonly in various cultures. Moreover, an additional research is in need about a consumer culture in a macro domain and experiential consumer culture in a post-materialism society.

소비문화와 미국문화의 정체성 : 테네시 윌리암스의 『유리동물원』과『욕망이라는 이름의 전차』의 경우

최영주 ( Young Joo Choi ) 한국아메리카학회 2003 美國學論集 Vol.35 No.1

This paper aimed to read Tennessee Williams` two major plays, The Glass Menagerie and A Streetcar Named Desire to the view of ‘the consumer culture and the identity of American culture’ in 1930s and 1940s. Regarding consumer culture would identify the various levels of socio-cultural environment, what this paper tried was to embrace the two theatre pieces within the consummerian cultural phenomena to be distinguished, ranked, and interrelated. Of course, it could not be said that these two plays suggested consummerian cultural phenomena at their face values. Nonetheless, they would be ramified as the socio-cultural product showing how the individuals in the ages responded to each other, who had different propensity for the past or the present values, and to the environment of the capital industrial society of America in 1930s and 1940s. The main characters of these two plays were in conflict with the transforming cultural values between the past memory of aristocratic western culture and the grinding everyday reality they were placed in. Amanda in The Glass Menagerie was the figure who was trapped in the conflicts of the material as well as the psychological of the past and the present. So, Amanda`s self followed the double time scheme of the backward and the forward. Laura and Tom were the transitional generation and the scapegoats for their mother`s floating self. Blanch in A Streetcar Named Desire was the another emblematic figure of the dying southern culture in New Orleans. As she could not adapt herself to the reality, she got closer to the mental death of schizophrenia. On the contrary, the male characters, Jim and Stanley represented the American consummerian values and cultural identity of America around the Second World War. The crash between Jim and Laura, Stanley and Blanche resulted in male`s victory the gentlewomen behind the history. It mirrored the inescapable, paradoxical truth of social progress of the age. This paper didn`t hesitate to attest the male characters advocated the cultural values of consumer society of 1930s and 40s. The females, who were regarded as the artistic supremacy, proved the American consciousness of its fragility, the restlessness, and the anxiety. Here, St. Louis and New Orleans provided the social space evolving consumer culture. The goods, the periodicals, the Hollywood films, the woman`s domestic journals, the advertisements, T.V.s carried the consummerian rhetoric on and out of the text, invoked the activities of consumptions, and eventually weaved its own vision of the consumer culture. The leisure was the another way of life for the characters to respond to the society and to inscribe their identities in the consumer culture. Moreover, The Glass Menagerie and A Streetcar Named Desire mirroring the age, bridged the theatre into the consumer culture for the pivotal performances and films as well as the books.

GLOBAL CONSUMERS CULTURE AND THE NEW CHINESE LUXURY FASHION BRANDS: EMERGING ISSUES AND NEW TRENDS FROM THE LOCAL “CHINA BRANDSCAPE”

Serena ROVAI 글로벌지식마케팅경영학회 2017 Global Fashion Management Conference Vol.2017 No.07

It is certainly not possible to analyse the evolution of the global luxury consumers orientations for the new luxury Chinese brands without considering the essence and the impact of the “brandscape”. In the last decade, China has assisted to the surge of the “luxury lifestyle” for a multiplicity of consumer segments living in those coastal areas – and not only - filled with luxury and fashion brands, that invaded every city area from streets to airports from clinics to hotels where concept stores, luxury flagship stores, sponsorships for events and urban artefacts “add value to the symbolic production of an urban lived space” (Bellini and Pasquinelli, 2015). Luxury product brands are enriched by the synergy with the city brand and the diverse fashion and art city locations, activities and events. In the new luxury perspective that sees luxury in its experiential dimension and no longer only in desire of an exclusive object, the relation of luxury brands and city brand requires a specific focus, in particular in the new fast growing economies as China that sees the rise of the new experiential luxury lifestyle and new local luxury brands. In the fast growing luxury Chinese luxury market where new Chinese luxury brands are striving to acquire a brand identity and image first in the local market and then in the international one, city branding may be a conductive solutions for brand value and identity creation. Authentic luxury experiences in significant city contexts appear added value activities for luxury brands in particular for those with no consolidated heritage and identity as the new Chinese luxury brands. New retail formats such as pop-up stores, concept stores located in specific high value artistic or fashion related locations adds value (Bellaiche et al, 2012). For Chinese luxury brands with a very limited identity, a almost absent heritage and a ongoing value creation of the brand, in-store experience is increasingly important (Atsmon et al, 2012) and the shopping location certainly represent an important factor for the increasingly diverse and demanding luxury customers by being not only the instrument towards the desired subjects but also a value-adding experience on its own (Rintamaki et al, 2007, p. 628). The emergence of the Chinese luxury consumer did not mean the presence on a market where the consumers are gathered by the same tastes, desires and purchasing patterns. Reference to the global consumer culture and paradigm evidenced that consumers in diverse geographical contexts may have different and sometimes even conflicting opinions or shared desires and values expressed in similar behaviours or symbols towards a brand. Global brands sets the international standards and convey shared symbols (Holt, Quelch and Taylor 2004) and a myth of cosmopolitanism to which many consumers world-wide appreciate (Strizhacova, Coulter and Price 2008).Brands represent a form of culture and they relate to the way people live, think, eat and choose to wear as well, a form of seeing life and the world (Askegaard, Kjeldgaard and Arnould, 2009) . Luxury brands have become increasingly present in the Chinese consumer market and lifestyle and the role of purchasing luxury goods experiencing a luxury lifestyle has taken an unexpected importance and meaning in the Chinese social context. China has started to experience the consumer culture only after China's opening up to the market economy as a result of the economic reforms post-1979 that have given to aspirational consumers more freedom to develop a consumer culture partially away from political limitations but still permeated in the Chinese culture and its characteristics. Those reforms have also given rise to the private businesses and the birth of a consumer middle class, the new rich, in China. The birth of the Chinese middle class has fuelled the emergence of a highly diversified consumer class with different purchasing attitudes (Latham, 2006) and a new way to express their taste, their motivation for purchasing (Gillette, 2000) and in particular an increasing brand awareness, mode of purchasing and conceptualisation of luxury (Rambourg, 2014; Rovai, 2016). Distinctive aspects of luxury consumer culture have started to emerge in the late years, evidencing new desires for Chinese luxury consumers with respect to luxury brands, accompanied by the entrance in the market of Chinese luxury brands aspiring the capitalise on the increasing Chinese luxury desire but limited by their lack of specific characteristics of authentic luxury brands - heritage, identity and prestige amongst others. As a result, this research focuses on the analysis of Chinese luxury brands presence in the local Chinese urban context; specifically, it focuses on how the Chinese urban fashion context can help to support the creation of a luxury brand value and also reinforce a luxury brand identity and image in a Chinese luxury consumer culture that does not possess a luxury heritage. An analysis of two luxury Chinese brands and a local luxury and fashion concept store has been initiated together with further evidence from the Shanghai urban context, its activities, events and cultural specifics together with the following a qualitative method and in particular Yin (1989) case study approach. A series of 15 interviews have been held in late 2016 in Shanghai with the two Chinese luxury brands creative designers, owners and staff during one month together with observation and consulting of documents. Literature review has focused on the role of individual brands that, being somehow associated with the city become a collective brand (Pasquinelli, 2014), framing the complex network of associations, linking products, spaces, organizations and people (Bellini and Pasquinelli, 2015). Initially, an important attention has been oriented towards the geographical associations to the country-of-origin effect (Bilkey and Nes, 1982; Johansson et al, 1985) later on evidencing that a defragmentation into of smaller geographical units may be appropriate at urban level (Bellini and Pasquinelli, 2015) to highlight the relevance of the origin not simply in relation to a broad geographical context where the brand manufactures a product but also „the place, region or country where a brand is perceived to belong‟ (Thakor and Kohli, 1996, p. 26). The origin being not only a matter of product production but more of product conceptualisation, perception or consumption going towards the brand product usage context (Gerr et al, 1999). Brand product usage happen in those spatial circuits whose cities are part of and whose role may be conductive to the „local origination‟ of product brands, adding value to the birth and internationalisation of locally originated brands (Pike, 2011). Those local brands are developed from an ecosystem composed by relations and ownerships involving a multiplicity of stakeholders whose customers are an integral part (Power and Hauge, 2008). In the literature, Fashion capitals is a unique case of those ecosystems with a specific relationship between industry and spacial circuits is based on the urban context instrumental to fashion creation and also to consumption (Breward and Gilbert, 2006). The city as a part of the consumer culture and in particular as part of the brand product experience (Thrift, 2004). As a result of the literature review and the conceptualisation of fashion capitals as ecosystems conductive to the fashion creation and consumption, an exploratory study of: Which context related variables affect new Chinese luxury brands identity and value and how the China fashion capital ecosystem affects Chinese luxury consumers brand perception. The paper will show an insight of the instrumental relation of the brandscape Shanghai and the impact on the Chinese luxury brands value and identity acquisition with respect to Chinese consumers.

WHEN YOU YEAST EXPECT IT: THE UNLIKELY EMERGENCE OF CRAFT BEER CULTURE IN FINLAND

Alexei Gloukhovtsev 글로벌지식마케팅경영학회 2017 Global Fashion Management Conference Vol.2017 No.07

Drawing on data collected through archival research, semi-structured interviews, and site observation, this study examines the conditions underlying the emergence of craft beer culture in Finland. In doing so, the study seeks to shed light on phenomena underpinning the emergence of global consumer culture in unfavorable environments. A hermeneutic analysis reveals three themes that contribute to the emergence of craft beer culture in Finland: craft brewers as Davids vs. Goliath, craft beer consumption as consumers’ identity work, and bartenders and brewers as cultural intermediaries. On a broad level, the study contributes to literature examining the impact of globalization on consumer behavior by illustrating how global consumer culture presents local consumers a means to resist dominant local cultural and market structures. The study also extends research on consumer acculturation to global consumer culture by highlighting the importance of cultural intermediaries in the acculturation process. Implications of the study include the finding that consumer resistance towards local hegemonic consumptionscapes presents an entry point for global consumer culture, allowing international marketers to tap into local consumers’ desire to defy and resist local cultural and market structures deemed as restrictive or oppressive. The study also argues that international marketers are wise to consider the influence of cultural intermediaries in introducing and disseminating new consumption practices, especially in the case of products at the forefront of new global consumption trends.

<윌리엄 셰익스피어의 로미오+줄리엣>의 미디어와 소비문화

이혜경 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.2

Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed to an up-to-date modern mass audience. William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu. Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed t o an up-to-date modern mass audience.William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu.

빅데이터 기법을 통한 기업 문화마케팅을 위한 문화소비자의 가치 요소 연구

오세종 국제문화기술진흥원 2020 The Journal of the Convergence on Culture Technolo Vol.6 No.1

기업 문화마케팅은 기업의 문화적 이미지를 제고하거나 문화를 통해 기업의 이미지를 전달하는 마케팅 수단이 다. 문화소비자 가치 분석은 개인의 소비 행동에 담긴 삶의 가치 및 추구를 확인하고, 문화소비자의 선택 행동을 설 명하는데 중요한 예측 데이터이며, 의사결정의 기준이 된다. 연구 방법은 빅데이터의 텍스트 마이닝과 오피니언 마이 닝 기법으로 연관어, 긍정어, 부정어, 중립어를 추출했다. 분석 대상은 국내 소비자 대상인 현대카드 ‘슈퍼콘서트’와 해외 소비자 대상인 CJ ENM ‘KCON’에서 콘서트를 참여하는 문화소비자들이다. 기업 문화마케팅의 문화소비자 가 치 요소에서 ‘가치 일치성’은 기본 조건이며, ‘공감대 소통(감수성 표현)’, ‘참여성 공유(VIP 소속감)’, ‘사회적 변화 이 슈’, ‘서비스의 차별화’, ‘가격 할인 혜택’, ‘장소의 품격’으로 도출되었다. 앞으로 예술경영 기획, 문화 투자, 문화 유통, 복합문화공간 운영, 기업문화, CSR, Kpop 마케팅, 체험마케팅 등의 소비자 참여 분야에서 기업의 이익 추구와 브랜 드 가치 제고를 할 수 있는 ‘문화기술마케터’ 양성과 실무적인 적용 방법이 필요하겠다. Corporate Culture Marketing is a marketing tool that enhances a company's cultural image or conveys its image through culture. Culture Consumer value analysis is important predictive data in identifying the value and pursuit of life in individual consumption behavior, explaining the choice behavior of culture consumers, and serves as the basis for decision making. The research method was linked to the text mining and opinion mining techniques of big data, and extracted positive, negative and neutral words. The analysis targets culture consumers participating in concerts at Hyundai Card’s ‘Super Concert’, which is subject to domestic consumers, and CJ ENM’s ‘KCON’, which is subject to foreign consumers. The culture consumer value elements of corporate culture marketing are the basic conditions, and they were derived as ‘Consensus Communication (Expression of Sensibility)’, ‘Participation Sharing(VIP Belonging)’, ‘Social Change Issue’, ‘Differentiating Services’, ‘Price Discount Benefit’ and ‘Location Quality’. In the future, we will need to foster ‘Culture Technology Marketers’ and apply them in areas such as arts management planning, cultural investment, cultural distribution, cultural space, Corporate Culture, CSR and K-pop marketing to enhance corporate interests and brand value and enhance brand value.

중국 소비문화에 나타난 신주류 소비층의 심미적 소비특성에 관한 융합 연구 - 쑤저우 성품서점 및 베이징 고궁박물관 문화상품을 중심으로-

왕 운 비,선섭희 한국전시산업융합연구원 2022 한국과학예술융합학회 Vol.40 No.2

The purpose of this study is to study the recent aesthetic consumption characteristics of Chinese consumers, which are historically influenced by Chinese consumer culture, and to provide basic data for analyzing Chinese consumers' aesthetic attitudes and purchasing behavior according to product characteristics. Today, consumers are consuming more for the aesthetic and symbolic value of a product than for the function of it. Also, as the consumer culture changed from material consumption to aesthetic consumption, the individual's pursuit of value and human care brought by consumption behavior became the new trend in this era. In order to analyze the characteristics of Chinese aesthetic consumption, this study identified the changes and current status of Chinese consumer culture through previous studies and literature reviews, and summarized the characteristics of the consumer culture at each period. Then the meaning and necessity of aesthetic consumption were presented, and the three main characteristics of aesthetic consumption were identified as individualization, experiential and virtual. In addition, based on the characteristics of aesthetic consumption in the Chinese consumer culture, we established a case analysis framework of the aesthetic consumption culture, and then analyzed the aesthetic consumption characteristics of two projects that recently succeeded in the Chinese mainstream consumer groups. As a result, in both cases, human care and aesthetics were integrated into the brand culture, concealing the commercial attributes of the product, creating a good lifestyle connection with the brand, and forming an emotional tie with their target consumers through emotional marketing, which made consumers feel the satisfaction of self-realization through the deeply immersive consumption space and consumption experience. Based on the above research results, I will conduct comparative analysis of the consumer culture and aesthetic consumption characteristics of South Korea and China, and then draw out the differences in the impact of aesthetic factors on consumer product purchases in South Korea and China. 본 연구의 목적은 역사적으로 중국 소비문화에 영향을 받는 중국 소비자들의 최근의 심미적 소비특성을 연구하는 것으로서 제품의 특성에 따른 중국 소비자의 심미적 태도와 구매 행동을 분석하기 위한 기초 자료를 제공하는 것이다. 오늘날의 소비자들은 제품의 기능보다 심미적인 아름다움이나 제품이 갖고 있는 상징적 가치를 위해서 소비한다. 또한 물질적 소비에서 심미적 소비로 소비문화가 변화하면서 소비 가치와 인문적 배려에 대한 개인의 추구가 이 시대 새로운 트렌드가 되었다. 이에 본 연구에서는 중국의 심미적 소비 특성을 분석하기 위해 선행 연구 및 문헌 조사를 통해 중국 소비문화의 변천과 현황을 파악하고 각 시기별 소비문화의 특징을 정리하였으며, 관련문헌 고찰을 통해 심미적 소비문화의 의미와 필요성을 제시하고 심미적 소비의 특성을 개성화, 체험성, 가상성으로 분류하여 제시하였다. 또한 중국 소비문화에 나타난 심미적 소비의 특성을 바탕으로 심미적 소비문화의 사례 분석 틀을 구축하여 최근 중국 신주류 소비층에서 성공한 두 가지 사업을 대상으로 심미적 소비 특성에 대한 사례 분석을 한 후 분석결과를 도출하였다. 분석 결과, 두 사례 모두 인문적인 배려와 미학적 요소를 브랜드 문화에 접목시켜 상품의 상업적 속성을 드러내지 않고, 브랜드와 좋은 라이프스타일의 연관성을 만들어 냈으며, 감성 마케팅을 통해 타깃 소비자와 정서적 유대를 형성함으로써 소비자들로 하여금 깊이 몰입할 수 있는 소비 공간과 소비 경험을 통해 자아실현의 만족감을 느끼게 한 것을 확인할 수 있었다. 이러한 연구결과를 바탕으로 향후 한국과 중국의 소비문화와 심미적 소비 특성을 비교분석함으로써 미적 요소가 한국과 중국 소비자들의 제품 구매에 미치는 영향이 어떠한 차이가 있는지를 살펴보고자 한다.