• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.1-16
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• 2006

The purpose of this study is to analyze the meanings of national images represented in Vivienne Westwood' collections through investigating her works in an aspect of national identity. The results were as follows: British fashion is generally known for having two national identities, Monarchy and Anarchy. Monarchy is the traditional British look and Anarchy is the free-spirited look which is related with the postwar phenomenon of rebellious youth culture. As a punk, Westwood participated in creating Anarchic identity of British fashion. But from the 80s, Westwood's attitude toward the national images has been changed. As a high fashion designer who became to represent British fashion in global market, Westwood started to research British dress tradition, especially through comparing with French fashion. She was particularly fascinated with the traditional fabrics like tartans, tweeds and innovative tailoring skills, which were related with the heritage of Englishness in dress. But she didn't follow the conventional ways and tried to reinvent the historical tradition in modern ways. By combining Monarchic tradition with tempting female sexuality, Westwood transgressed the existing ordinary Britishness of British fashion which was composed of aristocratic and royal identities, and created some innovative British fashion images. With these works, Westwood contributed to consolidate Englishness in dress on the one hand, but on the other hand, served to reconfigure Britishness of British fashion. Consequently, Westwood showed that what is believed as the essential national fashion identity can be challenged and reconfigured in modern fashion field.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.234-245
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• 2013

The modern fashion was developed the basis on the western dress structure and its historical flow was continued until today. Particularly, the Britain has coexised the unique cultural identity in the aristocratic high culture and rebellious tendency of the subculture so it is necessary to the consideration about whole culture in order to grasp the British fashion identity. The purpose of this study was shown the methodological framework of the culture identity research of one country through the background of this formation of culture and process high culture and subculture study by analysis the culture identity in the today's Britain. Also, the purpose of this study that it draws whether the feature of the British fashion shows up as any aspect in this culture identity. The range of this study subdivides and considers with the imperialism, industrial revolution, aristocratism, union nations, and geographical aspect as the island country into the economy, politics, society, and natural characteristic about the Englishness and the notion of British culture then it draws the dichotomy of the British fashion through the culture identity formed in this society cultural background with both sides in the high culture and subculture aspect.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.97-109
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• 2004

As lifestyle changes, consumer behavior becomes emotional. And fashion brands are responding the behavior. The brands reflect changes of the needs and the values of consumers. This study analyzed the renovation strategies of the British traditional fashion brands through a literature survey. The common renovation strategies of the British traditional fashion brands were the renovations in the design which harmonized traditional elements with modem elements which is the key, and the renovations in the promotion and the distribution of commodities. The most effective renovation strategy is to combine the three renovations.

• Journal of Fashion Business
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• v.4 no.4
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• pp.71-82
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• 2000

The purpose of this thesis is how to find the way of activating Korean fashion industry, by reviewing the accomplishments of British young designers, Hussein Chalayan, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Also the fashion school should watch their curriculum. and change it gradually to the up-todate one. Thirdly, the Korean new generation designers should do effort to have the highest tailoring technique and artistic good sense. Finally, the designer should have broad range of knowledge for their design. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.

• Journal of Fashion Business
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• v.2 no.3
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• pp.43-54
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• 1998

In recent years, the influences of Korean fashion industry have slowly declined and numerous clothing-associated industry have come to be bankrupt, due to a national economic crisis. The purpose of this thesis is how to find the way of activating our fashion industry, by reviewing the accomplishments of British young designers, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Thirdly, the designers should do effort to have the highest tailoring technique and artistic good sense. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.10
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• pp.1087-1099
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• 2012

This study investigated the purchase intention of green fashion products based on Rogers' Diffusion of Innovation theory and compared the differences between Korean and British consumers. In order to identify the impact of personal characteristics, this study also examined the effects of fashion innovativeness and LOHAS tendency on perceived attributes of innovation and intention to purchase. With a convenience sampling method, a survey questionnaire was distributed at popular fashion streets in each country. A total of 426 data were obtained, 203 from the UK and 223 from Korea. About 52% were females, and 69% were in their twenties. A factor analysis generated two LOHAS factors (health concerns and eco concerns) and four attributes of green fashion products (image improvement, symbolic superiority, observability, and compatibility). Two types of green fashion products (organic cotton t-shirts and organic cotton t-shirts with an environmental message) were provided to measure the purchase intention, respectively. The findings were as follows. British consumers were more likely to show LOHAS tendency and to perceive positive advantages of green products compared to Koreans; in addition, British consumers presented higher mean scores on the purchase intentions of organic cotton products. Fashion innovativeness was significant to predict image improvement and symbolic superiority, while eco concerns were significant in compatibility for both nations. Compatibility was important for both countries in order to explain the intention to adopt two types of organic products. In addition, image improvement was another predictor for purchase intention of organic t-shirts with an environmental message. Managerial implications were provided.

• Journal of Fashion Business
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• v.13 no.3
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• pp.99-108
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• 2009

The purpose of this study is to analyze the middle-aged British women's apparel purchase behavior. The results of this study can be used to present the tendency of Korean middle-aged women's apparel purchase behavior when they become the old-aged by comparing and analyzing the British women's purchase behavior. We found that they prefer to choose and purchase their clothes by their own decision-making and search for actively the new brands for old age. Strong willingness was showed that their level of consumption amounts for clothing would be the same level between middle-aged and old-aged. It was also presented that they like to see a old-aged fashion model for fashion advertisement rather than a younger one and prefer to use the expression of 'mature' rather than a stereotypical expression such as a silver, gray and gold. The segmentation of fashion market by age can not be simply standardized. We expect that the propensity for clothing purchase behavior pattern of middle-aged women will not be changed and keep the same tendency by the time of their old-aged. We expect that this research results can be used as a basic material for another study and setting up the product developments and marketing strategies.

• Journal of Fashion Business
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• v.19 no.6
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• pp.14-27
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• 2015

This study explores the comparison of body image, body satisfaction, and clothing behaviors between Korean and British young women. Body image was measured by two methods: visual and verbal. For the data analysis, the Statistical Package for Social Science (SPSS) Version 16.0 for Windows was used to provide descriptive statistics, an independent sample t-test, and paired sample t- tests were applied in this study. Our results show that Korean and British female college students perceived ideal-body images that were smaller than their self defined body images. The ideal and self-images were significantly different in both groups. Both groups were dissatisfied with their own body size. The study was limited to a small sample size. Future studies using more participants from a more diverse age group and ethnic groups are recommended. The study will help marketers and retailers develop new products and new markets aimed at Korean and British women related to body image and body satisfaction.

• Journal of Fashion Business
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• v.11 no.2
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• pp.14-31
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• 2007

The Vivienne Westwood's design is divided into four eras : The 'Punk and Ethnic Style' era, The 'Feminine Style' era, The 'Eclectic Style' era and The 'Retrospective Style' era. The aesthetic characteristics of Vivienne Westwood's design vastly divided into Parody and the Punk Couture. Westwood's parody is exprssed by british materials, that is traditional British tailoring, dressmaking techniques, traditional british fabrics and her debt to the past. Also Westwood has presented the special characteristics of Punk Couture showing Punk-Style clothes by applying Couture sense to her own Pret a Porter Collection. She pursued newness breaking the conventional aesthetic consciousness through her cutting, mix and match of fabrics and cordy of punk details. Westwood pursued new aesthetics by deconstruction and destruction regulated existing ideas that had been systematized, conventionalized and standardized by history and culture. She had shown pluralistic fashion through her design that exactly reflected characteristics of the modern society demanding variety.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.211-220
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• 2007

The purpose of this study is to analyze characteristics and marketing strategies of the British, French and Italian luxury fashion brands. The subjects of this study are 27 fashion brands which have more than 50 years of tradition and are also members of the Walpole, Comit$\acute{e}$ Colbert, and Altagamma. The common marketing strategies of the luxury fashion brands were; the renewals in the product concept which harmonized traditional elements with modern elements which are designed to meet the needs of new target consumers, the renewals in the promotion such as the large scale of advertising, the frequent publications about the brands, sponsorship of events, the renewals and expansion of distribution channels in global fashion cities, the opening of flagship shop and the renovation of existing shops. Simultaneous renewals in product concepts, in promotion and in distribution will be an effective marketing strategy. Also, a continuous investment in renewal strategies is a key to the success of luxury fashion brand renewals.