Fashion Advertising In Korea

source language loses something, the terms borrowing and loanwords will be used in this paper.

1.1.3 Lexical features of English loanwords

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1.1.4 Fashion advertising in Korea

Fashion advertisements have their own complex yet stylistic modes and spheres of production, consumption, and utilization, including the interrelationship of words and pictures, among others. However, innovative technology and social changes in clothing and retailing, and the effect of class, sexual orientation, and

Yet, technological and social changes in clothing and retailing, and the impact of class, gender, and race politics, also have to be taken into account. Early forms of fashion promotion that originated in the eighteenth century, for example, overlapped with the rise of urban culture and shopping and embraced diverse forms of promotion, some of which we might not strictly recognize today as advertising. In the first instance, the majority of retailers regarded the creation of an enticing shop façade and interior as sufficient means for attracting and establishing a suitable clientele. This would subsequently be complemented by the circulation of handbills and trade cards, and to a lesser extent by press advertising, all of which were used to reinforce the reputation of the shop in question rather than to publicize the sale of particular wares. In the London Evening Post for 24 April 1741, for example, the haberdasher John Stanton placed an advertisement, not to tell the public about the goods he sold but to inform them of a change of trading address. Otherwise, newspaper advertisements were occasionally used by large-scale retailers and manufacturers to promote both new and secondhand goods at fixed prices, and from the 1760s tailors also began to advertise different items of male and female clothing. The

As their images are created on a public stage and their meanings are derived from the culture, celebrities are often viewed as symbols of the culture. The use of such personas in advertising and its impact are therefore likely to vary from culture to culture (Choi, Lee and Kim 2005). Since the public’s fascination with famous people is universal and celebrity endorsement is contingent upon cultural contexts (Hsu and McDonald 2002; Pringle 2004), a cross-cultural examination of celebrity advertising should offer timely insights for international advertising in both theoretical and practical terms. This is especially true these days as more and more companies go global and countries around the world become connected economically and