한국과 미국 백화점 윈도우 디스플레이 비교분석

오승희(Oh, Seung-Hee),정유나(Jeong, Yoo-Na) 한국실내디자인학회 2011 한국실내디자인학회논문집 Vol.20 No.4

This study identified characteristics of Christmas window display, which is one of visual marketing methods used in department stores, using cases of department stores in Seoul and the New York and to compare the characteristics between Seoul and New York department stores in order to extract the directions and components of window display in each country. Based on the photographs of Christmas window display at the sampled Seoul and New York department stores, we analyzed the window display of each department store. From the results of analysis were drawn conclusions as follows. First, as to the direction of Christmas window display design in Seoul and New York department stores, window display was designed using various themes according to the characteristic of each department store. In case of Seoul department stores, however, specific luxury brands linked to the characteristics of the department stores displayed their products separately, but in New York department stores, various Christmas themes, images related to the department stores, and products were displayed together according to the characteristic of the department stores. Second, among display components, the formative structure and the frequency of mannequin use were different between Seoul and New York department stores. Various formative structures and diverse mannequins used in the window display of New York department stores played the role of stamping the brand image of each department store and exhibiting various designs through window display.

럭셔리 브랜드 플래그쉽 스토어 쇼윈도우에 나타난 아트 콜라보레이션의 디자인 특성연구

강아름 ( Aruem Kang ) 한국공간디자인학회 2018 한국공간디자인학회논문집 Vol.13 No.3

(연구배경 및 목적) 4차산업이 대두되고 있는 현재의 글로벌 시대에 감성적 요소의 중요성이 커지고 있고 현대인들의 라이프스타일이 변화되면서 자신만의 개인화, 가치화를 중요하게 생각하면서 기업들은 소비자를 위해 기업의 이익은 물론, 브랜드 가치와 이미지를 상승시키기 위한 활동을 하게 되었는데, 공간적인 부분에서는 플래그쉽 스토어를 나타나게 하였다. 플래그쉽 스토어와 고객을 이어주는 쇼윈도우의 중요성이 그만큼 커지면서 브랜드는 동종 업계에서 차별화를 위한 쇼윈도우를 선보이기 시작했다. 대중에게 기업의 이미지를 고급화하고 전달할 수 있는 아트마케팅의 방법 중 하나인 아트 콜라보레이션 쇼윈도우가 럭셔리 브랜드에서 수차례 등장하게 되었는데 본 논문에서는 럭셔리 브랜드 플래그쉽 스토어 쇼윈도우에 나타난 아트 콜라보레이션의 디자인 특성을 연구하여 변화되는 소비자들의 라이프 스타일에 따른 럭셔리 브랜드의 아트 콜라보레이션 쇼윈도우 방향에 대해 고찰하고자 한다. (연구방법) 연구의 방법으로는 이론적 고찰을 통해 플래그쉽 스토어의 개념을 파악하고 플래그쉽 스토어의 쇼윈도우, 플래그쉽 스토어 아트 콜라보레이션에 대해 분석한다. 다음으로 아트콜라보레이션에 대한 선행연구와 아트 콜라보레이션 사례를 바탕으로 아트 콜라보레이션의 특성 연구를 홍보성, 예술성, 상호작용성으로 나눈다. 분석의 대상으로 세계적인 리서치 그룹이 선정한 2017 가장 가치있는 럭셔리 브랜드 10에서 아트 콜라보레이션 쇼윈도우를 진행했던 루이비통, 에르메스, 프라다의 플래그쉽 스토어 아트 콜라보레이션 쇼윈도우를 앞서 분석하여 나눈 세 가지의 아트 콜라보레이션 특성에 대입하여 디자인 특성을 분석한다. (결과) 분석 결과 럭셔리 브랜드 아트 콜라보레이션 쇼윈도우에서는 기업 중심보다는 아티스트 중심의 특징이 나타나는 것을 확인 할 수 있었다. 브랜드의 아이덴티티와 상품의 홍보보다는 예술가의 홍보의 목적이 나타났고 예술가의 작업특성에 의한 디자인 특징이 강조되었다. 상호작용적 부분에서는 브랜드와의 연관성은 밀접하게 나타났지만 공공성과 소비자와의 상호작용적 부분이 미흡하게 나타남을 확인할 수 있었다. (결론) 사례 분석의 결과로 럭셔리 브랜드의 아트 콜라보레이션 쇼윈도우에서는 아티스트의 특징이 부각시키고 아티스트와 해당 예술 장르의 홍보가 이루어지도록 디자인 연출되었다. 아티스트는 본인의 작품 특징을 이용하여 브랜드의 테마와 컨셉을 나타내어 브랜드와의 연관됨을 확인하였다. 본 연구로 변화하는 현대인의 라이프 스타일에 맞추어 예술적, 감성적인 부분을 충족시키고 체험적이고, 기업과 예술은 물론 공공과의 상호작용을 할 수 있는 아트 콜라보레이션 쇼윈도우가 다양하게 발전되길 기대한다. (Background and Purpose) Emotional factors are becoming more important in this global era with the emergence of the fourth industrial revolution, and as the lifestyle of modern people changes, it is important that their personalization and valuation be prioritized. To raise the image in its spatial aspect, the flagship store appeared. As the importance of the display window connecting the flagship store and the customer grew, the brand started to use the display window for differentiation in the same industry. Art Collaboration Show windows, one of the art marketing methods for enhancing and conveying corporate image to the public, have appeared several times in luxury brands. In this study, I will evaluate the design characteristics of art collaboration shown in the display windows of luxury brand flagship stores. I will examine the direction of art collaboration in the display windows of luxury brands according to the changing lifestyles of consumers. (Method) As a first step in this study’s research method, the concept of the flagship store is analyzed through theoretical considerations, and the display window of the flagship store and art collaboration within the flagship store are analyzed. Next, based on preceding research on art collaboration, the characteristics of art collaboration are divided into publicity, artistry and interactivity. By way of analysis, we have studied the three art collaboration characteristics the flagship store display windows of Louis Vuitton, Hermes, and Prada, which were selected by the world's top research groups in the 2017 as most valuable luxury brands. (Results) As a result, it was confirmed that artist-centered features appeared in the luxury brand art collaboration display window rather than the enterprise center. The purpose of display window favored the publicity aims of the artist rather than the brand's identity and the promotion of the product, and the design features based on the characteristics of the artist's work were emphasized. In the collaborative aspect, the association of the window with the brand was closely related, but the interaction between artist publicity and the consumer was insufficient. (Conclusions) As a result of this case study, in the art collaboration display window of luxury brands, the characteristics of the artist were highlighted in the display window design so that the artist and the art genre could be promoted. The artist modeled the theme and the concept of the brand through the individual features of the artist. I hope that the art collaboration display window will be developed in various ways to meet the artistic and emotional demands of the changing modern lifestyle and to interact with the public.

Window Creativity of a Fashion Store -Its Effects on Consumer Emotions and Behavioral Intentions-

( Ara Choi ),( Ju Yeun Jang ),( Ho Jung Choo ) 한국의류학회 2020 한국의류학회지 Vol.44 No.1

This study investigates the multi-dimensional structure of fashion store window creativity and examines its effects on consumer responses. Through an expert evaluation survey, this study proposes that fashion store window creativity involves originality, relevance, and artistry. Two experiments are conducted to test the proposed hypotheses. Consumers' emotional responses to the level of window creativity are collected using psychophysiological and self-report methods. Fashion store window creativity has positive effects on psychophysiological affective responses. When the three dimensions of creativity are specified as explanatory factors of emotional responses, relevance and artistry show positive effects on arousal and pleasure, whereas originality has a negative effect on pleasure. Its effect on attitudes is mediated by arousal and pleasure; in addition, the effect on entering intentions is mediated by arousal. Attitudes toward window display also have a positive effect on entering intentions. This study extends existing research on creativity in marketing into the context of visual merchandising in fashion store windows. Findings provide meaningful implications in that the effects of fashion store window creativity on emotions affect consumer attitudes and behavioral intention. By adopting multiple approaches in the empirical phase of this study, the findings are built on strong reliability and validity.

쇼윈도 디스플레이가 의류매장의 구매에 미치는 영향에 관한 연구

김태영(Kim, Tae-Young),서유석(Seo, You-Seok) 한국실내디자인학회 2012 한국실내디자인학회논문집 Vol.21 No.4

The fundamental purpose of this study is whether Show Window Display actually affect on purchase and if it does, how much Show Window Display have influence on the buyer"s satisfaction. Show windows are most important at clothing stores. The show open types of domestic clothing stores are usually open-type and semi open-type. Show Window Display types of low and middle prices stores are generally opened, horizontal and storied type and the shape, height, opening type and use of ground floor are different by regional distinct features. Generally Show Window Display are consisted by lights, mannequins and directed props. In buying patterns, an impulse buying has more stronger effect than a scheduled buying, a substituted buying and non-buying. An impulse buying are strongly affected by Design and others are prices. The reason why Show Window Display affecting on purchase is the satisfaction of Design and the strong stimulus to purchase(impulse buying), and then Show window Display used by all components strongly has an effect on it. Factors of purchase desires were Design, price and quality in order and factors of purchase motivations were the motivation of clothing design and the motivation of impulse buying. Thus the effects of Show Window Display and factors of purchase motivations are same. As a result of this study, differentiated Show Window Display methods of clothing stores affect the value of goods, the stimulus of purchase and fostering sales effectiveness. Therefore the instruction of Show Window Display methods are indicated by this study.

의류매장의 VM 구성요소가 점포이미지와 구매의도에 미치는 영향 -파사드 색상과 쇼 윈도우 유형을 중심으로-

이미숙 ( Mi Sook Lee ) 복식문화학회 2012 服飾文化硏究 Vol.20 No.3

The purpose of this study was to examine the effects of VM components(facade color and show window type) on store image and purchasing intention of fashion stores. The subjects were 428 male and female university students in Daejeon and Chungnam province. The measuring instruments were 6 stimuli manipulated by 3×2 factorial design of facade color and show window type, and a self-administrated questionnaire consisted of store image, purchasing intention, and subjects` demographic characteristics. The results were as follows. First, facade color mainly affected store image and purchasing intention. White color was preferred as more positive images(pleasurable, comfortable, neat, and modern), and showed higher purchasing intention than brown color. Second, show window type affected some store images. Semi-open type was perceived as more pleasurable image than enclosed type, whereas enclosed type was perceived as more luxurious, neat, and attractive image than semi-open type. However, show window type didn`t affect purchasing intention. Third, subject` sex affected store image and purchasing intention. Male subjects perceived more positively on store image and had higher purchasing intention than females. This study suggested that facade color and show window type are important VM components affecting store image and purchasing intention.

상품화된 전쟁 : 아시아 · 태평양 전쟁과 일본 백화점

오윤정(Oh, Youn-jung) 고려대학교 일본학연구센터 2015 일본연구 Vol.24 No.-

1937년에서 1945년에 이르는 전쟁기는 흔히 일본 근대사의 '어두운 골짜기'로 묘사된다. 1938년4월 '국가총동원법'이 제정되고 소비와 오락을 부정하는 시대에 백화점은 가장 큰 타격을 받게 되는 사업이어야 했다. 그러나 흥미롭게도 전쟁이 시작된 1937년부터 1940년까지 백화점의 매출은 매년 꾸준히 증가했다. 소비의 전당 백화점과 검약을 강요하는 총동원체제를 양립 불가능한 관계로 놓는다면 1940년까지의 백화점 매출 증가와 이후 현상유지는 설명 불가하거나 총동원정책의 실패로 해석될 수밖에 없다. 그러나 전시 국가에의 봉공.희생과 개인의 욕망과 즐거움의 추구가 백화점에 의해 배타적 관계가 아니라 상호형성관계를 맺게 되었다. 총력전을 위해 개인의 일상이 국가에 의해 엄격하게 규율되고 통제되는 중에도 백화점은 소비와 오락을 윤리적으로 정당화할 수 있는 방편을 만들어 줌으로써 전시 국민으로서 감당해야 할 희생과 모순을 일으키지 않으면서 개인의 욕망과 즐거움을 충족할 수 있도록 했다. 백화점은 국책에 도전하는 대신 오히려 그것을 전용함으로써 사업을 유지하고 심지어 성장시켰다. 전쟁기 특히 1940년까지 후방의 일상은 전전에 누리던 근대적 생활의 단절이 아니라 '전시근대'라는 형태로 지속되었다. 이 글에서는 백화점이 어떻게 총력전하에서 전쟁 자체를 소비와 오락의 대상으로 상품화하기 위해 다양한 시각 장치들을 사용했는지 살펴본다. The years from 1937 to 1945 have been perceived as a “valley of darkness” in modern Japanese history. During this period, when the notions of consumption and leisure were harshly criticized under the National Mobilization Law, it was the department stores that must have sustained the most challenges. However, interestingly enough, the financial net profits of department stores steadily increased every year from 1937 until 1940. If department stores, known as cathedrals of consumption, are to be incompatible with a system of total war that enforces a life of austerity and thrift, the increase in department store sales until 1940 is inexplicable or must be interpreted as a product of the failure of the state-directed mobilization campaign for total war. However, the pursuit of personal desire and pleasure became not antithetical to, but rather constitutive of, the service and sacrifice for the wartime state through department stores. While people’s everyday lives were strictly regulated and controlled by the state for the goals of total war, department stores provided the moral justification for personal consumption and leisure, allowing people to pursue their desires and pleasures without contradicting their obligation towards the war effort. Department stores sustained and even prospered in their business by appropriating the state-directed mobilization campaign for total war rather than contradicting it. During the war, particularly in the years from 1937 until 1940, daily life on the home front posed not as a rupture but as a continuation of prewar modern life, taking on the form of “wartime modernity.” This article explores the ways in which department stores adopted various visual practices to commodify the war as an object of consumption and leisure.

백화점 쇼윈도우 디스플레이에 관한 실태조사 : 대전 지역을 중심으로

이서희,최나영 服飾文化學會 2002 服飾文化硏究 Vol.10 No.5

The purpose of this study is to analyze the window display in the department stores in Daejeon. The framework of execution, colors, illumination, and kinds and colors of mannequins of the window display in four department stores in Daejeon were analyzed based on the photographs of displays from January to October in 2001. The results were as follows: First, in the framework of execution, each department store used mostly the triangle-framework during four seasons, which was a fundamental framework. Its characteristics were a sense of security, three-dimensional effect, and balance. It was the most suitable framework for the mannequins and toruso. Second, a color scheme for commodities was all no-coloring scheme in each four seasons. The color of background was mostly white which harmonized well with the colors of commodities and lights. The plan for the color scheme of window display should always executed on the commodities, and the color should be harmonized to produce the best display effect. Moreover, when commodities had two colors, the color of background should be in one simple color that manifest the commodities, or that is secondary color to the main color of commodities. Third, all department stores used all same illumination. Lack of illumination, management, and expense incured ineffective production of the display. Fourth, mostly, real mannequins with white or skin colors were used, and the toruso was next used in department stores. The set was limited because many companies had not made new sets for the display. Therefore, new sets including mannequins should be actively developed to produce effective display.

연구논문 : 프랑스 파리 쁘랭땅 백화점 패션윈도우 디스플레이 분석 -2009년부터 2014년 기간을 중심으로-

허승연 ( Seungyeun Heo ),김칠순 ( Chil Soon Kim ),김선하 ( Sunha Kim ) 한국의류산업학회 2015 한국의류산업학회지 Vol.17 No.4

This study was to consider and analyze of fashion window display design at Printemps department store in Paris, France which has tried continuously space presentations through the sensibility and differentiated strategy. The framework for analysis of this study was established by related precedent studies. Data collection was done by searching related specialty publications and website of Printemps department store, and the results of this study were drawn through qualitative analysis of experts`` group. The results are as follows. Printemps department store set up presentation types of fashion window display design``s themes that have been developed by the method of display presentation such as symbolic, ambience, surrealistic, realistic, and information. The most frequently used presentation development techniques applied in windows`` VP of Printemps were the ``transferal of daily space``, ``transferal of unexpected space``, ``exaggeration of animal & plant``, and ``descriptive narrative scene.`` In addition, the display theme components such as the materials that can be easily accessible in everyday life, unique directing props, the memory or childhood, the image of animal or plant, and lighting etc. We found that the major colors of window display design at Printemps department store were purple, blue and black during the period from 2009 to 2014.

일반논문 : 상품화된 전쟁 -아시아,태평양 전쟁과 일본 백화점-

오윤정 ( Youn Jung Oh ) 고려대학교 일본학연구센터 2015 일본연구 Vol.24 No.-

1937년에서 1945년에 이르는 전쟁기는 흔히 일본 근대사의 ‘어두운 골짜기’로 묘사된다. 1938년 4월 ‘국가총동원법’이 제정되고 소비와 오락을 부정하는 시대에 백화점은 가장 큰 타격을 받게 되는 사업이어야 했다. 그러나 흥미롭게도 전쟁이 시작된 1937년부터 1940년까지 백화점의 매출은 매년 꾸준히 증가했다. 소비의 전당 백화점과 검약을 강요하는 총동원체제를 양립 불가능한 관계로 놓는다면 1940년까지의 백화점 매출 증가와 이후 현상유지는 설명 불가하거나 총동원정책의 실패로 해석될 수밖에 없다. 그러나 전시 국가에의 봉공ㆍ희생과 개인의 욕망과 즐거움의 추구가 백화점에 의해 배타적관계가 아니라 상호형성관계를 맺게 되었다. 총력전을 위해 개인의 일상이 국가에 의해엄격하게 규율되고 통제되는 중에도 백화점은 소비와 오락을 윤리적으로 정당화할 수 있는 방편을 만들어 줌으로써 전시 국민으로서 감당해야 할 희생과 모순을 일으키지 않으면서 개인의 욕망과 즐거움을 충족할 수 있도록 했다. 백화점은 국책에 도전하는 대신 오히려 그것을 전용함으로써 사업을 유지하고 심지어 성장시켰다. 전쟁기 특히 1940년까지 후방의 일상은 전전에 누리던 근대적 생활의 단절이 아니라 ‘전시근대’라는 형태로 지속되었다. 이 글에서는 백화점이 어떻게 총력전하에서 전쟁 자체를 소비와 오락의 대상으로 상품화하기 위해 다양한 시각 장치들을 사용했는지 살펴본다. The years from 1937 to 1945 have been perceived as a “valley of darkness” in modern Japanese history. During this period, when the notions of consumption and leisure were harshly criticized under the National Mobilization Law, it was the department stores that must have sustained the most challenges. However, interestingly enough, the financial net profits of department stores steadily increased every year from 1937 until 1940. If department stores, known as cathedrals of consumption, are to be incompatible with a system of total war that enforces a life of austerity and thrift, the increase in department store sales until 1940 is inexplicable or must be interpreted as a product of the failure of the state-directed mobilization campaign for total war. However, the pursuit of personal desire and pleasure became not antithetical to, but rather constitutive of, the service and sacrifice for the wartime state through department stores. While people’s everyday lives were strictly regulated and controlled by the state for the goals of total war, department stores provided the moral justification for personal consumption and leisure, allowing people to pursue their desires and pleasures without contradicting their obligation towards the war effort. Department stores sustained and even prospered in their business by appropriating the state-directed mobilization campaign for total war rather than contradicting it. During the war, particularly in the years from 1937 until 1940, daily life on the home front posed not as a rupture but as a continuation of prewar modern life, taking on the form of “wartime modernity.” This article explores the ways in which department stores adopted various visual practices to commodify the war as an object of consumption and leisure.

파리, 뉴욕, 도쿄, 서울, 상해의 다섯 개의 글로벌 도시별 메종 에르메스 플래그쉽 스토어 패션 윈도우 디스플레이 비교분석

전상 ( Chen Xiang ),김칠순 ( Kim Chil Soon ),허승연 ( Heo Seung Yeun ) 한국기초조형학회 2017 기초조형학연구 Vol.18 No.6

본 연구의 목적은 VMD 전략을 위해 차별화된 현지 비주얼 머천다이징을 지속적으로 실행해 온 명품 브랜드 에르메스 플래그쉽 스토어 패션 윈도우 디스플레이의 비교분석을 통해 그 특징을 고찰하는 것이다. 연구 분석을 위한 틀은 디스플레이 전문서적과 선행연구를 통해 정립하였고, 분석 대상은 2014년 가을과 크리스마스 윈도우 디스플레이 사진으로 자료 수집은 에르메스의 공식 및 관련 홈페이지와 웹사이트, 핀터리스트의 2차 데이터 수집과 저자의 직접 사진 촬영을 통하여 이루어 졌다. 연구 분석결과는 다음과 같다. 첫째, 에르메스는 2014년 가을과 크리스마스 시즌에 다양한 연출방향과 구성요소를 활용한 패션 윈도우 디스플레이를 지역별로 다르게 전개하였다. 둘째, 다양한 분야의 아티스트와 협업으로 이루어진 에르메스의 디스플레이는 작가 개개인의 미적 감수성과 내면세계를 표현하고 있었으며, 매장과 진열 상품에 예술적 희소가치를 부여하고 있었다. 셋째, 에르메스는 브랜드의 전통적 가치와 상징적 이미지를 강조하는 VMD 전략을 추구하고 있었다. 넷째, 에르메스는 혼합형 디스플레이 방식을 선호하고 있었으며, 브랜드의 시그니쳐가 표현된 디스플레이 오브제들을 빈번하게 활용하고 있었다. 다섯째, 에르메스의 디스플레이 구성은 전반적으로 삼각이나 사각 형태로 안정감이 느껴지도록 전개되고 있었으며, 주로 추상적 형상의 마네킹을 활용하여 상품의 디자인적 요소나 특징만이 집중되도록 하였다. 마지막으로, 에르메스는 각 나라마다 지역적 특성과 현지 소비자의 문화와 예술을 고려한 유동적인 현지 VMD 전략을 통해 그 지역 고객들을 위한 새로운 라이프스타일을 제안하고 있었다. The purpose of this study was to determine the characteristics of window display in Hermes flagship stores in five different global cities, in that the global luxury brand Hermes has run the differentiated visual merchandising successfully in five different countries with a differentiation, to have an idea to establish VMD strategy. The framework for analysis of this study was established by fashion display relevant specialty publications and previous studies. Data was obtained from the secondary data collection such as Hermes official web sites, other web sites, & Interest, and the primary data collection by taking photographs in front of display window. The results are as follows. First, The display of Hermes was developed using a variety presentation directions and different components by each countries in 2014 fall & Christmas season. Second, the display of Hermes consisting of a collaboration with artists in various fields was to express individual aesthetic sensibility and inner world of each artist, which was to give artistic scarcity value on stores and products. Third, Hermes has been pursuing a VMD that emphasizes traditional values and symbolic images of brand. Forth, Hermes had favored a mixed display type, made frequent use of the display objects expressed in the signature of brand. Fifth, display composition of Hermes was being deployed to feel a sense of stability as a triangular or square shape in general, was to focus only design elements or characteristics of product by utilizing a mannequin of abstract shape primarily. Finally, Hermes was proposing new lifestyles just for local customers through flexible local VMD strategy taking into account regional characteristic and cultural habits and art taste of the local consumers according to each global city.