National Aesthetics: January 2016

Week 5 -- Stephen Nienu

Korea’s Booming Music Industry

K-Pop is bigger than ever. When every citizen in Korea is connected to high-speed internet and when the government intervenes in helping save the music industry, K-Pop emerged as one of the fastest growing genres that has spread nationwide. Korea’s cultural boom is a response to an identity crisis. By continuing to surpass technological feats and have a music genre that is called Korean Pop, they are doing everything they can do brand and develop their national identity. According to the article “Transationilzation of Korean Popular Culture and the Rise of “Pop Nationalism” in Korea by Jeongsuk Joo, Joo states that the majority of the music is targeted at the youth. Describing why so many teens are engaged and enthused by this brand of music. Similarly to Denmark, Korea has laid out a plan to develop a national aesthetic. They have specified their target audience, have economic backing, and have the audience that can access their product at any time due to high speed internet.

Interestingly enough, the first time I heard K-Pop was at UC Davis. I frequently practice at the ARC Dance Studio and I always see a large collective of students practicing to K-Pop music. I see many people of different ethnic backgrounds enjoying K-Pop so it’s really cool seeing how far music and the culture reaches.

References

1. Joo, Jeongsuk. "Transnationalization of Korean Popular Culture and the Rise of ‘‘Pop Nationalism’’ in Korea." The Journal of Popular Culture 44.3 (2011): 489-504. 2 June 2011.

2. Eung Hong. “The Birth of Korean Cool: How One Nation Is Conquering the World Through Pop Culture.”

3.https://www.youtube.com/watch?v=Y9eNl7_fxH8

Week 4 -- Stephen Nienu

The story of Denmark’s rise to national prestige in the furniture industry started at the personalization of the product. The marketing, the narrative of the product, the branding, and the economic planning. In its inception, Denmark didn’t have much of a market for furniture designs. The country worked together in small cooperative agreements to create a quality product. Denmark tried to expand the market by partnering with organizations, magazines, advertisement campaigns, to drive the appeal of the product before exporting.

Denmark provided its product from domestic to international. In its early stages, automation was a key factor in production. The success of Danish design can be attributed to the governments initiative to give money and promotion of designers and support for craftsmanship and training. During the Post WWII there were new markets emerging, thus giving the perfect opportunity for Danish excellence.

Aesthetic and quality would be extremely high. The mid century modern furniture also was a campaign to create a better Denmark. The success was aided by a reduction of national trade barriers and a flexible market. With the growth of the market and success of Danish design, the prestige of the brand was created. Now, the next objective was to elevate the population to the level of design. Denmark had created a market in its own borders, but they wanted to export and expand to the world market. By targeting specific customers and producing an aesthetically visual design, and providing an intelligent marketing campaign by placing these designs in exhibits, academic journals, the national aesthetic of Denmark has grown into their worldly-known, and respected brand.

Question

Does Urban Outfitters do this as well? By targeting specific customers, are they following a similar marketing method?

References

1. Networks, Narratives, and New Markets: The Rise and Decline of Danish Modern Furniture Design, 1930-1970

Author(s): Per H. Hansen

2. http://www.pbs.org/wgbh/roadshow/tips/chairs.html

Week 3 -- Stephen Nienu

From Copycat Culture to Streetwear Dominance

Shortly after WWII, Japan had to rebuild. Kensuke Ishizu took the liberty of bringing the western dapper look to Japan. In Chantal Fernandez’s article “How American Style Fueled Postwar Youth Fashion In Japan” Fernandez describes the influence or the copycat culture that Japan fashion designers took from the United States. Although, I do believe that Japan started off with a copycat culture it has turned into its own culture. Today, Japan is one of the largest capitals of exclusive streetwear that is vied from every knowledgeable customer from the Japan to the United States and everywhere in between. Japanese fashion designers are making a mark on fashion that transcends local culture. Brands and fashion designers such as: A Bathing Ape, Comme des Garcons, Onitsuka Tiger, and Yohji Yamamato are the pinnacle of streetwear and high-end fashion. A Bathing Ape and Comme des Garcons both sell out of their inventory within minutes. Lines wrap around multiple blocks and the exclusivity of the item is what drives many to flock toward these brands. Onitsuka Tiger has recently collaborated with BAIT NYC, one of New York’s premier streetwear stores, and released a shoe in honor of Bruce Lee. Lastly, Yohji Yamamato is a fashion icon. His concepts along with Rei Kawakubo (Comme des Garcons) separated Japanese fashion from the “copycat” image and influenced the Japanese fashion culture to what it is and known for today.

Here is a YouTube video depicting the BAIT x Onitsuka Tiger collaboration with the Kinjaz