$\require{mediawiki-texvc}$

연합인증

연합인증 가입 기관의 연구자들은 소속기관의 인증정보(ID와 암호)를 이용해 다른 대학, 연구기관, 서비스 공급자의 다양한 온라인 자원과 연구 데이터를 이용할 수 있습니다.

이는 여행자가 자국에서 발행 받은 여권으로 세계 각국을 자유롭게 여행할 수 있는 것과 같습니다.

연합인증으로 이용이 가능한 서비스는 NTIS, DataON, Edison, Kafe, Webinar 등이 있습니다.

한번의 인증절차만으로 연합인증 가입 서비스에 추가 로그인 없이 이용이 가능합니다.

다만, 연합인증을 위해서는 최초 1회만 인증 절차가 필요합니다. (회원이 아닐 경우 회원 가입이 필요합니다.)

연합인증 절차는 다음과 같습니다.

최초이용시에는
ScienceON에 로그인 → 연합인증 서비스 접속 → 로그인 (본인 확인 또는 회원가입) → 서비스 이용

그 이후에는
ScienceON 로그인 → 연합인증 서비스 접속 → 서비스 이용

연합인증을 활용하시면 KISTI가 제공하는 다양한 서비스를 편리하게 이용하실 수 있습니다.

패션필름의 오프라인 플랫폼 연구
Offline Platforms of Fashion Films 원문보기

한국의류학회지 = Journal of the Korean Society of Clothing and Textiles, v.42 no.5, 2018년, pp.809 - 822  

권지안 (성균관대학교 의상학과) ,  임은혁 (성균관대학교 의상학과)

Abstract AI-Helper 아이콘AI-Helper

Fashion brands communicate with consumers through the use of fashion films that are effective in the delivery of the image. This is because digital media (such as fashion films) are popular and accessible as well as effective in attracting people's attention. The reasons why fashion films have becom...

주제어

질의응답

핵심어 질문 논문에서 추출한 답변
본 연구에서 넓은 의미로 패션필름이란 무엇인가? 이 밖에도 다수의 연구자들에 의해 패션필름의 개념과 특성은 지속적으로 논의되고 있으나 공통적으로 언급되는 내용을 바탕으로 본 논문에서는 다음과 같이 정의하고자 한다. 넓은 의미에서 패션필름이란 브랜드나 브랜드로부터 재정적 지원을 받은 제작자 또는 개인 제작자가 패션을 주제로 만든 시각물로서 브랜드, 디자이너, 제품의 콘셉트를 효과적으로 전달하기 위한 목적을 가지며 동시에 제작자의 표현방식이 패션필름에 고스란히 드러나는 창작물로서 이는 온 · 오프라인 플랫폼 또는 모바일을 통해 확산되는 영상물이다. 패션필름을 좁은 의미에서 살펴보면 1분 미만에서부터 60분에 이르기까지 광범위한 재생 시간을 가진 영상물로 패션필름이 취하고 있는 형식에 따라 다큐멘터리, 애니메이션 등으로 분류할 수 있으며,패션필름에 적용된 기술에 의해 모션그래픽, 프로젝션맵핑, 홀로그램 패션필름 등으로 나눌 수 있다(Kwon &Yim, 2016).
패션필름의 영향력이 확장될 수 있었던 요인 중 하나는 무엇인가? 이처럼 패션필름의 영향력이 확장될 수 있었던 요인 중 하나는 기존의 오프라인플랫폼을 기반으로 삼았기때문이라 할 수 있다. 일반적으로 플랫폼은 온라인과 오프라인으로 나뉘는데 패션필름의 경우, 영상물의 일종으로 브랜드의 홈페이지 또는 유튜브(YouTube) 등 영상물 공유 사이트인 온라인 플랫폼을 통해 확산되어왔다.
오프라인 플랫폼을 통해 패션 필름을 배포하는 방식이 다양한 경로로 브랜드를 접하는 소비자에게 일관된 이미지를 소비할 수 있도록 옴니채널(omni-channel) 서비스를 제공할 수 있는 이유는 무엇인가? 또한 오프라인 플랫폼을 통해 패션 필름을 배포하는 방식은 온·오프라인, 모바일 등 다양한 경로로 브랜드를 접하는 소비자에게 일관된 이미지를 소비할 수 있도록 옴니채널(omni-channel) 서비스를 제공할 수 있다. 각 채널 간의 관계를 하나로 융합하는 것은 소비자의 체험을 극대화할 수 있으며 제품의 이미지를 구축하는데 효과적이기 때문이다. 그 결과 브랜드에서는 소비자와 패션필름을 공유하는데 용이하면서도 신선한 경험을 제공할 수 있는 오프라인 플랫폼을 개발하는데 주력하고 있다.
질의응답 정보가 도움이 되었나요?

참고문헌 (69)

  1. Ahn, S. A., Shin, M. H., & Lee, H. H. (2015). Consumer's perception of types of fashion film. Journal of the Korean Society of Clothing and Textiles, 39(4), 545-559. doi:10.5850/JKSCT.2015.39.4.545 

  2. Alexander McQueen. (2012, March 15). Alexander McQueen Women's Spring/Summer 2010 Runway Show. YouTube. Retrived April 20, 2015, from https://www.youtube.com/watch?vzkvVgvaKJgA 

  3. Arts, J., & Calefato, P. (2010). Fashion and imagination: About clothes and art. Arnhem: ArtEZ Press. 

  4. BOF TEAM. (2010, November 11). Decoding Ralph Lauren's 4D 'Digital Extravaganza'. The Business of Fashion. Retrieved March 20, 2018, from https://www.businessoffashion.com/articles/bof-exclusive/digital-scorecard-ralph-lauren-4d-projection-mapping 

  5. Boykins, A. (2016, May 18). Louis Vuitton's "Volez, Voguez, Voyagez" Exhibition Pays Homage to Japan's Powerful Influence. Hypebeast. Retrieved March 9, 2018, from https://hypebeast.com/2016/5/louis-vuitton-volez-voguez-voyagez-exhibition 

  6. Breward, C. (2008). Between the museum and the academy: Fashion research and its constituencies. Fashion Theory, 12(1), 83-93. doi:10.2752/175174108X269568 

  7. Browne, A. (2005, February 20). Scent of a Movie. The New York Times. Retrieved March 20, 2018, from http://www.nytimes.com/2005/02/20/magazine/scent-of-a-movie.html 

  8. Bruzzi, S., & Gibson, P. C. (Eds.). (2013). Fashion cultures revisited. Oxon and New York: Routledge. 

  9. Chanel. (2017, June 12). MADEMOISELLE PRIVE SEOUL Exhibition, Teaser 2 - CHANEL. YouTube. Retrived February 13, 2018, from https://www.youtube.com/watch?vtfTX2O2Y00A 

  10. Choi, B. S., & Kim, J. H. (2011). A study of the effect of the general definition of platforms on the firm's economic and strategy decision-making. The Journal of Business Education, 25(3), 157-176. 

  11. Choi, S. Y. (2009, December). Fashion Theater. LUXURY. Retrieved May 5, 2015, from http://luxury.designhouse.co.kr/in_magazine/sub.html?atview&info_id50218 

  12. Chung, S., Cho, H., & Choi, J. (2013). A study on the industry platform of electric vehicles. Journal of Korea Technology Innovation Society, 16(2), 530-558. 

  13. Cotter, H. (2012, May 10). Speaking of Fashion: 'Schiaparelli and Prada: Impossible Conversations' at Met. The New York Times. Retrieved March 20, 2018, from http://www.nytimes.com/2012/05/11/arts/design/schiaparelli-and-pradaimpossible-conversations-at-met.html 

  14. CT SH. (2012, August 20). 2011 April Burberry Beijing Full Show. YouTube. Retrived November 9, 2015, from https://www.youtube.com/watch?v-B7eay1SvSQ 

  15. ES DELVIN. (2015). Louis Vuitton - Series 2 Exhibition. ES DELVIN. Retrived October 7, 2017, from https://esdevlin.com/work/louis-vuitton-series-2 

  16. Fendi. (2009, December 11). FENDI "THE DAY BEFORE" EXTRACT 1. YouTube. Retrived April 6, 2015, from https://www.youtube.com/watch?v1RMzTetgwng 

  17. Geczy, A., & Karaminas, V. (Eds.). (2012). Fashion and art. London and New York: Berg. 

  18. Gucci. (2014, September 18). Gucci Women's Spring/Summer 2015 Runway Show. YouTube. Retrived October 2, 2017, from https://www.youtube.com/watch?vTZYJ0gCKdh8 

  19. Hancock, J., Johnson-Woods, T., & Karaminas, V. (Eds.). (2013). Fashion in popular culture: Literature, media and contemporary studies. Bristol and Chicago: Intellect. 

  20. Hong, J. H. (2012, March 4). 패션, 영화를 캐스팅하다 [Fashion, casting a movie]. JoongAng Sunday. Retrieved May 5, 2015, from https://news.joins.com/article/7521321 

  21. Hong, S. G., Kim, H. J., & Choi, H. R. (2012). The conceptual model of a SNS platform for co-creation. Journal of the Korea Industrial Information Systems Research, 17(3), 95-104. doi:10.9723/jksiis.2012.17.3.095 

  22. Hong, Y. J., & Kim, Y. I. (2013). Study on the digital storytelling types and characteristics of fashion designer brands. Journal of the Korean Society of Costume, 63(8), 43-57. doi:10.7233/jksc.2013.63.8.043 

  23. Huh, Y., Chun, J., & Ha, J. (2016). A research on the communication characteristics of fashion film-Focused on Chanel, Prada, Kenzo, Alexander Wang-. Journal of the Korean Society of Clothing and Textiles, 40(2), 315-329. doi: 10.5850/JKSCT.2016.40.2.315 

  24. Im, I. (2017, January 2). 플랫폼을 알아야 플랫폼에서 성공한다 [Knowing platform means success in platform]. K content. Retrieved March 5, 2018, from http://sitehomebos.kocca.kr/k_content/vol22/vol22_04.pdf 

  25. Jeon, E. K. (2009, June). 프라다 트랜스포머 [Prada Transformer]. DESIGN. Retrieved March 20, 2018, from http://mdesign.designhouse.co.kr/article/article_view/101/48409 

  26. Khan, N. (2012a). Cutting the fashion body: Why the fashion image is no longer still. Fashion Theory, 16(2), 235-249. doi:10.2752/175174112X13274987924177 

  27. Khan, N. (2012b). Stealing the moment: The non-narrative fashion films of Ruth Hogben and Gareth Pugh. Film, Fashion & Consumption, 1(3), 251-262. doi:10.1386/ffc.1.3.251_1 

  28. Kim, H. (2014). Development of music video in relation to development of media environment. Design Convergence Study, 13(6), 111-126. 

  29. Kim, J. (2013). Interactive case study on fashion media: Focused on Showstudio's fashion projects. Journal of Fashion Business, 17(5), 101-119. doi:10.12940/jfb.2013.17.5.0101 

  30. Kim, K. K. (2017, September 25). "현대사회는 소비욕망의 공간...모든 게 예술" ["Modern society, a space for consumption and desire...Everything is art"]. The Korea Economic Daily. Retrieved December 24, 2017, from http://news.hankyung.com/article/2017092492941 

  31. Kim, S. (2005). Formative feature of interior exhibition & brand identity in fashion brand flagship store. Bulletin of Korean Society of Basic Design & Art, 6(4), 161-174. 

  32. Kim, S., & Ha, J. (2015). The study on metareality expressed in digital fashion film. The Research Journal of the Costume Culture, 23(4), 554-568. doi:10.7741/rjcc.2015.23.4.554 

  33. Kim, S., & Ha, J. (2017). Analysis of new media fashion image types in fashion films. Journal of the Korean Society of Clothing and Textiles, 41(6), 1085-1097. doi:10.5850/JKSCT.2017.41.6.1085 

  34. Kim, S. B. (2015). A case study on the platform for the actualization plan of product design concept. Journal of Korean Institute of Culture Product Art & Design, 42, 53-63. doi:10.18555/kicpd.2015.42.5 

  35. Kim, S. M., & Kim, Y. K. (2013). Innovations in brand communication based on the spread of digital fashion films - Focusing on fashion shows and digital media -. Journal of the Korean Society of Fashion Design, 13(1), 129-140. 

  36. Kim, S. Y. (2013). Aesthetic characteristics reflected in Gareth Pugh's fashion films. Journal of the Korean Society of Costume, 63(1), 1-15. doi:10.7233/jksc.2013.63.1.001 

  37. Kwon, J., & Yim, E. H. (2016). Characteristics and categorization of fashion films. Journal of the Korean Society of Costume, 66(4), 128-145. doi:10.7233/jksc.2016.66.4.128 

  38. Lee, H. D., & Lee, M. S. (2017). Fashion characteristics in aspect of digital technology on African-American hiphop musician videos. Journal of Korea Design Forum, 56, 225-240. doi:10.21326/ksdt.2017.56.020 

  39. Lee, J. M. (2016). A dynamic study on movement in fashion film media. Unpublished doctoral dissertation, Hongik University, Seoul. 

  40. Lee, M. S. (2017, January 12). 플랫폼으로 확장된 문화콘텐츠의 가능성 모든 길은 플랫폼으로 통한다 [The potential of cultural contentsas a platform, All roads lead to platform]. KOCCA 상상발전소 [KOCCA Imagination power plant]. Retrieved March 5, 2018, from http://koreancontent.kr/3211 

  41. Lee, S. J. (2017, January 18). 플랫폼 비즈니스는 어떻게 수익을 창출하는가, 세상을 연결한 플랫폼의 가치 [How platform business generates revenue, the value of the platform connecting the world]. KOCCA 상상발전소 [KOCCA Imagination power plant]. Retrieved March 5, 2018, from http://koreancontent.kr/3214 

  42. Lee, S. R., & Kim, H. Y. (2011). The modern fashion show in the digital image age. Journal of Korean Society of Design Science, 24(1), 129-140. 

  43. Lee, S. Y. (2011). Analysis on the trend and present condition of the blockbuster gallery exhibition-Focussed on the exhibitions taking place from 2007 to 2009-. Journal of Korea Design Forum, 30, 57-70. doi:10.21326/ksdt.2011.30.005 

  44. Macmillan Englishdictionary: For advanced learners. (2002). London: Macmillan Education. 

  45. Melchior, M. R., & Svensson, B. (Eds.). (2014). Fashion and museums: Theory and practice. London and New York: Bloomsbury. 

  46. Mijovic, N. (2013). Narrative form and the rhetoric of fashion in the promotional fashion film. Film, Fashion & Consumption, 2(2), 175-186. doi:10.1386/ffc.2.2.175_1 

  47. Nam, Y. J., & Kim, H. Y. (2011). The characteristics of fashion design of the modern fashion show performance. Journal of Korean Society of Design Science, 24(3), 261-270. 

  48. OMA. (2012, April 27). Prada Epicenter, New York. galinieonruins. Retrived June 19, 2015, from https://galinie.wordpress.com/2012/04/27/prada-epicenter-new-york/ 

  49. OMA, & Koolhaas, R. (2009, April). Prada Transformer. Prada. Retrived April 26, 2015, from http://www.prada.com/ko_kr/a-future-archive/projects/specials/transformer.html/ 

  50. O'Reilly, K. (2009, September 8). First Look: The Day Before Snippets. NBCNewYork. Retrieved March 9, 2018, from https://www.nbcnewyork.com/blogs/threadny/First-Look-The-Day-Before-Snippets-57665802.html 

  51. Park, H. S., & Park, S. H. (2016). Storyscaping of fashion brand chanel. Journal of the Korean Society of Fashion Design, 16(1), 49-66. doi:10.18652/2016.16.1.4 

  52. Park, S. (2005). Ontological aspects of digital image. Association of Image & Film Studies, 6, 69-94. 

  53. Prada. (2010, January 17). PRADA THUNDER PERFECT MIND. YouTube. Retrived May 28, 2015, from https://www.youtube.com/watch?v8hvB_2ElxaM 

  54. Ralph Lauren. (2010, November 10). The Official Ralph Lauren 4D Experience - New York. YouTube. Retrived October 20, 2015, from https://www.youtube.com/watch?vc3n8j2uWA8o 

  55. Retail Design Blog. (2016, April 23). Louis Vuitton Volez, Voguez, Voyagez exhibition, Tokyo - Japan. Retail Design Blog. Retrived January 20, 2017, from http://retaildesignblog.net/2016/04/28/louis-vuitton-volez-voguez-voyagezexhibition-tokyo-japan/ 

  56. Schmitt, B. H. (1999). Experiential marketing: How to get customers to sense . feel . think . act . relate to your company and brands. New York, NY: The Free Press. 

  57. Schneier, M. (2012, January 14). Fall 2012 Menswear Ermenegildo Zegna. Vogue. Retrieved March 21, 2018, from https://www.vogue.com/fashion-shows/fall-2012-menswear/ermenegildo-zegna 

  58. Skjulstad, S., & Morrison, A. (2016). Fashion film and genre ecology. The Journal of Media Innovations, 3(2), 30-51. doi:10.5617/jmi.v3i2.2522 

  59. Smith, M. O., Kubler, A., & Guinness, D. (2013). Art/fashion in the 21st century. London: Thames & Hudson. 

  60. Soloaga, P. D., & Guerrero, L. G. (2016). Fashion films as a new communication format to build fashion brands. Communication & Society, 29(2), 45-61. doi:10.15581/003.29.2.45-61 

  61. Sviokla, J., & Paoni, A. J. (2005, October). Every Product's a Platform. Harvard Business Review. Retrieved February 14, 2018, from https://hbr.org/2005/10/every-products-a-platform?autocompletetrue 

  62. Thoufeekh, S. (2017, June 23). Inside Chanel's Mademoiselle Prive Seoul exhibition. L'OFFICIEL. Retrieved March 20, 2018, from https://www.lofficielsingapore.com/fashion/chanel-opens-the-mademoiselle-prive-exhibition-in-seoul-dmuseum 

  63. TVC Group. (2012, January 26). Louis Vuitton Rome Etoile Maison Opening. YouTube. Retrived June 4, 2015, from https://www.youtube.com/watch?v0VeDoGHOa7c 

  64. Uhlirova, M. (2013). 100 years of the fashion film: Frameworks and histories. Fashion Theory, 17(2), 137-157. doi: 10.2752/175174113X13541091797562 

  65. Van Alstyne, M. W., Choudary, S. P., & Parker, G. G. (2017). Platform revolution (H. K. Lee, Trans.). Seoul: Bookie. (Original work published 2016) 

  66. VisionAIRblog. (2012, October 24). Burberry digital store. You-Tube. Retrived March 23, 2017, from https://www.youtube.com/watch?vOh6DcY7zoYI 

  67. Wagenblast, P. (2012, May 11). Schiaparelli & Prada: Impossible Conversations. DAZED. Retrieved March 20, 2018, from http://www.dazeddigital.com/fashion/article/13396/1/schiaparelli-prada-impossible-conversations 

  68. Ye, M., & Yim, E. (2014). Art strategies of luxury fashion brand. Journal of the Korean Society of Clothing and Textiles, 38(2), 191-200. doi:10.5850/JKSCT.2014.38.2.191 

  69. Zegna. (2011, January 16). Ermenegildo Zegna LIVE-D Fashion Show - Autumn Winter 2011/12. YouTube. Retrived February 21, 2017, from https://www.youtube.com/watch?vpXqi8MBJ6RQ 

저자의 다른 논문 :

관련 콘텐츠

오픈액세스(OA) 유형

FREE

Free Access. 출판사/학술단체 등이 허락한 무료 공개 사이트를 통해 자유로운 이용이 가능한 논문

섹션별 컨텐츠 바로가기

AI-Helper ※ AI-Helper는 오픈소스 모델을 사용합니다.

AI-Helper 아이콘
AI-Helper
안녕하세요, AI-Helper입니다. 좌측 "선택된 텍스트"에서 텍스트를 선택하여 요약, 번역, 용어설명을 실행하세요.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.

선택된 텍스트

맨위로