KCI등재
From Collective Selection to Individual Style: A Symbolic Transfer in Fashion = From Collective Selection to Individual Style: A Symbolic Transfer in Fashion
저자
발행기관
학술지명
Journal of Global Fashion Marketing(Journal of Global Fashion Marketing)
권호사항
발행연도
2012
작성언어
Korean
주제어
KDC
326.505
등재정보
KCI등재
자료형태
학술저널
수록면
5-11(7쪽)
DOI식별코드
제공처
The paper aims to uncover the reasons why fashion appears in terms of collective selection in a movement towards individual style in the way people dress. Here, fashion is viewed in terms of collective fashion trends and personal style. Thus, it is the clothes, dressing habits, and garments that are observed in the research. The paper shows how the theory of symbolic interactionism can be used as an analytical tool to bring transparency to the movement from collective selection towards individual style in the fashion industry. This theoretical approach, which is connected to social interaction helps avoid the classical research trap of making statements through the study of cause and effect. The analysis is made based on examples of meanings created around the garment through an observation of the process from the initial meaning the person gives to as a symbol in social interaction, to the final stage when it becomes an individual style. There are four such phases that together create the final picture of why fashion is heading towards individual style. All these phases have different sources, and naturally provide different answers to the initial research question in this paper. Once the garment is turned into an individual style and, as customers seek more details in garments, there then occur a collapse of the "total look" towards hyper individuality. 1. The same garment may have different meanings for us depending on social interaction and symbol. When observing the same garments around the globe, they appear to have a common reality but this is not the case as these garments have different meanings. This reality is depicted in earlier studies such as Sapir (1999) that concludes that the main difficulty in understanding fashion and its apparent extravagances is the lack of exact knowledge of the unconscious symbolism of forms, colours, materials, postures and other elements that express a given culture. This difficulty is exacerbated by the fact that some expressive elements tend to have different symbolic references in different contexts. It is interesting to naote that current studies in fashion are in contradiction with such logic. 2. The same garment may have the same meaning depending on social interaction and symbol. When the same garment has the same meaning, such as a police uniform, it is straight- forward in communicating belongings, simply because the gar ment can be understood in exactly the same way by both parties. Lonnqvist (2008) is outspoken about power games in apparel communication with the assistance of garments. It is a matter of how one dresses and turns oneself out with different versions of clothing-from the warrior`s fearsome armour to the sexy and suggestive underwear. Power can be manifested in different ways, and clothing is among its more visible indicators. Clothes can radiate dominance and dignity, but also a sense of ridicule and humiliation thereby destroying their initial purpose of meaning. The question that arises then is, when can those garments become fashion if by definition the latter is a matter of a desire to keep up with times and to express the tastes that are emerging in a changing world? 3. Different garments may have different meanings depending on social interaction and symbol. A communication problem arises when different garments have different meanings in fashion. This problem highlights the structure of fashion design as well as pricing in the world. There is perhaps no other business sector like fashion, in terms of the correlation between a certain design and garments with price. The price criterion cuts across market criteria in the structural segmentation of the fashion industry. According to Saviolo and Testa, (2002) there are five price categories: couture, ready-to-wear, diffusion, bridge, and mass. A garment designed on the upper level in terms of price might differ radically from the design of a garment on the mass production level. 4. Different garments may have the same meaning depending on social interaction and symbol. When different garments have the same meaning in terms of status, income levels, gender, etc. department stores and "shops-in-shop" are frequently used together with branding to introduce these different garments with the same meaning to target groups on the market. Department stores are consequently the appropriate venues created to enable the introduction of these particular garments and deal with the particular situation they engender. Miller (1981) studied such a case in detail, focusing on Le Bon Marche in Paris. The latter refers to a large fashion department store and its place in fashion history. By allowing interactions with the society in which it is situated, and reflecting the changes that occur in that society, the department store becomes the living mirror of that society. The department store thus achieves a communicative role by using the living environment as a legitimizing justification of their very existence. As such, the department store as a display of fashion and witness of its historical change, typifies symbolic interactionism at work. This conceptual banter anchored in a symbolic interactionism framework that underlies this study has revealed four significant aspects that arise out of the movement from collective selection towards individual style in fashion: 1) When the same garment can have different meanings, it can create individualities depending on time, place and the role of the designer. 2) When the same garment has the same meaning as in the case of uniforms, then it can be used as a manifest for power. In certain circumstances these garments can move from being a symbol of power to become a symbol to communicate fashion indicating changes in the society as whole. 3) When different garments have different meanings, the price practice becomes a communication tool towards the consumers. The subsequent brand extension habits of fashion firms through stretching, collaborating, etc. confuses consumers who responsively become more individualistic in their choice of garments including mixing brands. This situation sometimes generates a hyper personalized fashion. 4) Where different garments have the same meanings to the consumers, the place or the store achieves a significant role in the marketing communication of fashion.
더보기분석정보
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)