Fashion Marketing

The present study tries to spot the concept of movie-based promoting and quickly presents its development and prominence within the industry. The advancement within the film-based promoting business throughout the year. It's terribly basic lately that the brands and ranging media parts of films are obtainable within the pic theaters additionally as on the racks of outlets too in numerous styles of going with things. This paper plans to research the basic qualities of film connected promoting and to contemplate the various types of image exchange utilized by pic, their various form of appearances and their history and out the duty promoting plays among alternate devices that are accessible to advance the arrival of another film. This has prompted a problem, or, in different words will see item position as one thing negative. Item arrangement upgrades watchers' capability to understand brands and things within the wake of viewing a pic, whereas the positions are compatible or incongruent. This investigation appearance at however mark acknowledgment is delivered and the way harmoniousness of a state of affairs will influence cluster of onlooker's acknowledgment. In lightweight of this, a discourse analysis was semiconductor diode with inserted units comprising of 3 center gatherings wherever the creators continued from a semi-organized meeting guide. The examination's outcome was that 5 variables; irritation, familiarity, lack of pleasure, unnecessary and picture will have an effect on however mark acknowledgment is formed, see able of the results of the middle gatherings. The examination likewise led to arrangements that are compatible to the cluster of onlookers are acknowledged, whereas non-tolerating things are in congruent. A situation's compatibility is influenced by the components; hope and applicability, saw match and individual judgments, and plot association.

From Chinese Brand Culture to Global Brands uses a Chinese
perspective to examine the capacity of Chinese brand culture to
serve as a complement to existing models of brand globalization.
Moving away from the trend to study the managerial aspects of
Western brand building in Chinese contexts, we examine how
Chinese branding efforts express significant aspects of their own
brand culture. Our selection of Jay Chou, the 2008 Beijing Olympics
Opening ceremony, and Shanghai Tang, an aspiring global fashion brand with aesthetic roots in Chinese historical culture, as illustrative cases, is fully consistent with this unwritten and unspoken consensus around exploiting Chinese cultural specificity towards the global development of Chinese brands. Although these three cases may seem “under the radar,” we believe that, together, they provide unique insights into the relation between brands and Chinese culture, and offer intriguing possibilities for thinking about global Chinese brands.

A collection of international contributions from renowned academics and practitioners from the UK, USA and China, the second edition of Fashion Marketing has been revised and expanded to incorporate the major changes in the fashion industry since 2001. This ...

In today’s competition strategy, selecting the most proper supplier isone of the success factors of
companies. Supplier selection and associations with suppliers generate the most important decision problems of
companies. Because of this importance,great numbers of companies coming from different sectors both in Turkey
and in the rest of the world cooperate with suppliers by assigning their processes partially to them or cooperate
with suppliers providing the most proper inputs in order to minimize their costs and these companies target to
offer fast and high quality solutions totheir customers by benefiting the expertise of their suppliers. At this point,
selecting the right supplier which is expected to satisfy the demands of companies and their customers emerges as
an important issue. The objective of this paper is comprehending the criteria hierarchy and the priority considered
as base for selecting the suppliers and maintaining the relations with the existing suppliers. For that purpose, the
priority of supplier selection criteria, which is assigned by the companies, is tried to be determined by using fuzzy
pair-wise comparison.
Keywords:Fuzzy logic, supplier selection, clothing sector, fuzzy pair-wise comparison method, decision making

PurposeThis study sets out to focus on the textiles and fashion clothing supply chain with the objective of identifying factors that constrain company activities and inhibit competitiveness.Design/methodology/approachThe methodology for this research involves multiple case studies involving UK companies. Supply chain management theory and ecological concepts have been used to interpret the data and to identify significant blocks affecting dynamic performance of the participating companies.FindingsThe research has identified seven significant blocks to responsiveness that were apparent in the observed supply chains: timing of fabric trade shows, lack of control of availability of fabric, forecasting, late stage product changes, geographical proximity to market, decision making decoupled from fashion trends, stock‐outs and slow selling products.Practical implicationsThe paper draws conclusions about the strategic directions of fashion supply chains and suggests the need to develop str...

The present study attempts to identify the idea of movie-based promoting and quickly presents its development and prominence in the film industry. The advancements in the film-based marketing business throughout the years. It is very basic these days that the brands and varying media components of films are available in the movie theaters as well as on the racks of retailers too in different types of going with items. This paper plans to investigate the fundamental qualities of film related marketing and to consider the different sorts of picture exchange utilized by movie, their diverse type of appearances and their history and out the job promoting plays among alternate devices that are accessible to advance the arrival of another film.
This has prompted an issue, or, in other words can see item position as something negative. Item arrangement upgrades watchers' capacity to perceive brands and items in the wake of viewing a movie, while the positions can be compatible or incongruent. This investigation looks at how mark acknowledgment is delivered and how harmoniousness of a situation can influence group of onlooker’s acknowledgment. In light of this, a contextual analysis was led with inserted units comprising of three center gatherings where the creators continued from a semi-organized meeting guide. The examination's outcome was that five variables; irritation, familiarity, lack of excitement, unnecessary and iconic can affect how mark acknowledgment is created, in view of the consequences of the center gatherings. The examination likewise brought about arrangements that are compatible to the group of onlookers are acknowledged, while non-tolerating situations are incongruent. A situation's compatibility is influenced by the components; hope and pertinence, saw fit and individual judgments, and plot association.

The Fashion & the Senses Symposium held at LCF on 27th March 2015 was an international multi-disciplinary forum for industry professionals, practitioners, academics and postgraduate students with a shared interest in this emerging field - fashion and the senses. It was co-organised by Sara Chong Kwan, Associate Lecturer in Cultural and Historical studies at LCF and a final year PhD candidate, and Bethan Alexander,  Course Director of the MA in Fashion Retail Management at LCF.

This chapter provides the first critical presentation of the work of Greek designer Yannis Tseklenis (born 1937) in textile and fashion design, with respect to the history of contemporary Greek art and culture. Yannis Tseklenis is recognised today as the leading Greek fashion designer of the second half of the 20th century. He is also considered to be the artist and businessman who introduced Greek fashion to the contemporary international fashion world. Over the course of his fashion design career (1965-1991), his textile and fashion collections were on sale in leading stores in more than 30 countries. Moreover, he organised the first group fashion shows in Greece (1970), he was the first Greek designer to open permanent showrooms in London and New York (1973) and the largest exporter of fashion in Greece. However, Tseklenis’ more important contribution lay in the way he drew inspiration from local, Greek or world cultural styles, which he developed for fashion in his textile patterns. Furthermore, Tseklenis introduced theme fashion, by choosing specific themes for his fashion lines from different art periods, such as Greek history and folk art (i.e. Aegean art, ancient Greek vases, Byzantine art, etc.) and international art history (i.e. Russian art, African art, the Persian tapestries, etc.), as well as from painters’ works, such as the Impressionists and El Greco. In addition, in 1983 he collaborated closely with Greek contemporary painter Yannis Gaitis to co-create the collection ‘Tseklenis from Gaitis’, a fashion line designed by Tseklenis based on the painter’s style and drawings. This article gives a detailed chronology of Tseklenis’ life, while also providing an account of his numerous - approximately 50 - thematic fashion collections, presented between 1965 and 1991. This study also aims to identify the characteristics of Yannis Tseklenis’ work in fashion and textiles and to evaluate his contribution from a historical, an artistic/aesthetic and a cultural perspective.

Las marcas de lujo se reinventan en sus estrategias de marketing y de negocio para adaptarse y acercarse a los mercados emergentes deseosos de consumir moda de lujo, es por ello que el marketing digital se transforma en una herramienta imprescindible para la comunicación de las marcas de lujo líderes en el mercado con sus públicos más jóvenes. La presente investigación pretende conocer cuáles son las estrategias actuales en marketing digital que están llevando a cabo las marcas del sector de la moda de lujo. Se pretenden identificar los aspectos más relevantes en la comunicación de las marcas para con sus públicos en un entorno virtual, para ello se han utilizado técnicas cualitativas, mediante análisis de contenidos y entrevistas en profundidad. Hemos encontrado que, entre otras, el principio de storytelling es una de las estrategias clave en el marketing digital, este principio lo encontramos en estrategias de video marketing, social media, eventos y exhibiciones abiertas al público, las cuale sbuscan interactuar con el público y mostrar su historia.

The purpose of this study is to compare May 2019 and September 2018 issues of four important magazines: Elle, Instyle, L'Officiel and Marie Claire. This comparison will enable readers to better understand how covers and content of magazines are prepared. September 2018 of each magazine is selected as this issue is considered to be one of the most important magazine issue throughout the year. To further provide insight, current issues are also included in the study. Results indicate that each magazine features a celebrity that has important achievement in that period. Furthermore, some magazine include other important events such as 20 th year celebration. Based on these findings, it is possible to say that magazines are more than simple fashion tools but an important way to communicate important events in the world.

Purpose–This paper aims to test hypothesized relationships of consumer need for uniqueness, attention to social comparison information, status consumption, and role-relaxed consumption with opinion leadership and opinion seeking for new fashionable clothing. Design/methodology/approach–The authors surveyed 598 consumers between the ages of 18 and 83 years using a self-administered questionnaire. Correlation and linear regression analyses showed that all four independent variables were related to both ...

The main Objective of this market research was to find out the market gap between identity conscious Sri Lankans and Sri Lankan Designer wear that is in the market. As far as Sri Lankan designer wear is concerned there is a lack of modern trendy designer wear that gives prominence to Sri Lankan identity.
Therefore the research was conducted in order to find out data that could help identify stylesand trends and also identify the authenticity which Sri Lanka hold in clothing from ancient time to cater to Sri Lankans locally and globally. After doing a thorough analysis,the research proved that Sri Lanka indeed has a gap where traditional and contemporary clothing are concerned.

Nowadays, advertisements which emerge as one of the most significant marketing activities are usedefficiently by the enterprises.
Advertisement is a successful method for attracting consumer’s attention and increasing sales. Besides it provides an increase in brand
value and brand awareness which provide a significant contribution to enterprise performance. Clothing sector which has an important
role in Turkish economy involves successful enterprises. These enterprises frequentlyuse advertisement activities in order to be
successful and to be able to pronounce their differences from rivals to the consumers. This study aims to analyze the relationship
between advertisement and buying behavior. After that, the results of the survey which is conducted in the hinterland of İzmir province
are analyzed to determine the effects of advertisement on buying behavior of consumers in clothing sector.
Key Words:Advertisement, Consumer behaviors, Buying behavior, Clothing sector, Turkey.

The COVID-19 outbreak took place end of 2019 in Wuhan city in China, and since then, it has spread across the world. The virus has not only impacted the health of millions of citizens, since, in such a globalized and interconnected system, it has also impacted on human being's daily life and activities. In this context, the volatility of the global economy has led many companies to modify and readapt their communication and marketing strategies and the fashion sector has not been exempted from these changes aimed at further engaging customers and at encouraging sales on e-commerce platforms. The present paper aims to provide an overview of the communication strategies on Instagram by fashion companies during an exogenous crisis, such as the first Covid19 wave, in a period that goes from January until end of May 2020. The research seeks to determine if and when the selected companies reacted on their Instagram accounts to the first wave of the pandemic, and which were the contents and the topics proposed across the considered period. The goal of the research is to present the state of the art of digital fashion contents offered during a period of crisis such as a global pandemic, where many fashion companies have decided to change their marketing and communication strategies to rebalance their usual conversational Instagram "tone of voice" with the needs and feelings of their stakeholders. It also aims to set the ground for further academic discussions on issues related to human computer interaction limits and potentials, when it comes to establishing alternative communication and marketing strategies during crises, such as the Covid19.

Research in the overlapping area between Fashion and Information and Communication Technologies – hereafter referred to as “Digital Fashion” – is growing and attracting the interest of both academics and practitioners. However, due to the richness and heterogeneity of the involved fields, no map is already available of it. A systematic literature review was conducted in July 2019 utilizing the keywords “digital” and “fashion” in five research databases, including academic papers from 1998. This provided 491 relevant items for analysis. Three main categories to which those research papers belong to are identified: (i) Communication and Marketing (C&M); (ii) Design and Production (D&P); and (iii) Culture and Society (C&S). Each category includes two or three subcategories. This study provides an overview of the state of the art of digital fashion studies, with a focus on Communication and Marketing related research.

The concept of brand experience was first put into a measurable scale by Brakus, Schmitt, and Zarantonello who proved in their article " Brand experience: What is it? How is it measured? Does it affect loyalty? " that brand experience factors are further divided as sensory, affective, intellectual and behavioral and positively affect consumer satisfaction and loyalty. Several studies have been done on the subject with lingerie as an exception despite it being a deeply personalized experience for women, affecting their external appearance as well as their self-image, confidence and sexuality. Hence the objective of this research is to identify the age/occupation wise factors imparting positive brand experience to lingerie buying consumers in India based on the brand experience scale propounded by Brakus, Schmitt, and Zarantonello. About 109 Indian women were interviewed in order to identify the factors which impart positive brand experience to them, and results significantly varied between different ages and occupation , proving that lingerie brands have to alter their products offering accordingly in order to enhance repeat purchase and foster brand loyalty.

Digital practices in fashion are gaining more attention, starting from digital communication, online reputation, up to eCommerce. Such highly moving dynamics – related both to the fashion market as well as to new available technologies and communication tools – require well-prepared and skilled employees, able to navigate in this con-stantly changing environment with needed competences, updated knowledge, and creativity.
Within this study, current market needs in the field of digital fashion are investigated through the analysis of the open job positions pub-lished on LinkedIn. In particular, needed skills and competences to join digital departments of fashion companies are examined.

Τα fashion blogs ανήκουν στα social media και αποτελούν πλέον ένα παγκόσμιο φαινόμενο με ραγδαία ανάπτυξη. Είναι το πιο δημοφιλή μέσο προβολής της μόδας, των νέων προϊόντων και του lifestyle της blogger. Η παρούσα εργασία είναι επικεντρωμένη στις Ελληνίδες fashion bloggers και μελετά πως διάφοροι παράγοντες, όπως τα χαρακτηριστικά του blogger, η ιδιοσυγκρασία του χρήστη, η διαφήμιση ή η διάταξη του blog μπορούν να επηρεάσουν την καταναλωτική συμπεριφορά του Ελληνικού κοινού ως προς τη μόδα.

Fashion is widely considered the second most destructive industry to the environment , with a global supply chain employing 58 million people worldwide. During the period of 2000–14, clothing production increased by 50 per cent, as fast-fashion evolved and the luxury sector ascended. Recently, a number of high-profile fashion designers are taking the decision to consciously depart from the constraints of the seasonal fashion calendar, enabling them to reconnect with the creative process, focusing on quality and customer experience. 'With fashion there is too much fear, not enough time, and not enough love' (Elbaz 2017). While sustainable fashion has often been considered a consumer-led movement, which brands have been pressured to act upon, it is important that businesses demonstrate social responsibility through a collaborative approach incorporating design, innovation, technology and communication to successfully create desirable sustainable products

The development of the fashion industry into a large-scale multinational operation and the resulting potential for damage to planet and people has attracted the attention of environmental and social activists since at least the 1960s, but consumers on the whole remain broadly ignorant of how their personal fashion purchases and widespread industry practices contribute to negative environmental and social impact (Connell and Kozar, 2014). The luxury sector, in particular, has much to lose in terms of reputation by revelations of exploitation and irresponsible environmental actions along the supply chain, given that much of its premium-pricing is based on notions of authenticity and quality production (Kapferer and Bastien, 2012). Previously, a focus on eco or sustainable fashion was seen as marginal or niche, but more recently consumers demonstrate a desire for greener products creating potential for businesses to work for profit and purpose (Ottman, 2011). This change has resulted i...

Fast fashion refers to the strategy to respond to the latest fashion trends by short production and distribution lead times, limited supplies and rapid inventory turn rates. Research on fast fashion mostly investigates producers’ side, such as supply chain. This study, on the other hand, focuses on consumers’ side, a neglected dimension by previous studies on fast fashion. The aim of this study is to reveal the components of fast fashion consumption behaviour and to evaluate the impact of each component.

This study consists of three phases. In the first phase, an explorative study is designed to gather information on fast fashion consumers. Three focus group interviews are held with consumers with different fashion involvement levels – from high to low. In addition, the related literature on fast fashion and fashion consumption is reviewed. Consequently, eight components, which would directly or indirectly influence fast fashion consumption, are determined. These are appearance management, repeat visiting behavior, product use duration, interaction with social media, impulse buying, willingness to pay full price, hedonic consumption, and fashion involvement. Moreover, demographic characteristics (i.e. age, income, and gender) of consumers are distinguished as the other factors influencing fast fashion consumption behaviour.

In the second phase, a questionnaire evaluating these eight components is prepared and tested on a sample of eighty-seven respondents. The results demonstrate that these components significantly explain fast fashion consumption. In the following phase of the study, a revised form of the questionnaire consisting of eight components is distributed to a larger sample and statistically analysed by using LISREL programme for scale development.

After oil, fashion is the second most polluting industry to the environment. The majority of brands design four to six collections each year, with the average collection consisting of around thirty different fabrics. At present, over 100 billion garments are produced annually, with consumers purchasing an estimated 60 percent more clothing items compared to fifteen years ago and keeping them for only half as long. As consumers increasingly desire more sustainable garments, how can the fashion industry fully embrace sustainability? This field case study examines how both new and established fashion designers and brands can incorporate sustainable methods and principles at each stage of the product life cycle. The case study addresses areas including: designing with less waste and more consideration to the environment; sourcing sustainable textiles and ethical production; and providing prompts for creating a sustainable brand identity. Danielle Lara is a luxury fashion brand designing women's ready-to-wear and couture evening wear. Collections sell throughout the UK, Ireland, and internationally. In 2008, the brand was invited to exhibit at London Fashion Week as part of a design collective where they showcased an upcycled collection of one-of-a-kind and limited-edition evening dresses. Their designs were selected for the reuse of luxury fabrics that would otherwise be discarded, a concept that was unusual and quite unique at the time.

As a luxury product, fashion is consumed not for rational considerations, but for its affective and emotive power. And it is in regards to this power that, as I will argue, the ongoing process of digitalisation is having its most profound effect. What are the parameters that define how, what and why we consume fashion online? How are marketing experts responding to the newfound agency of the consumer-turned-user? And what consequences do the fluid and non-linear communication constellations between brand and consumer in the digital realm entail for academic distinctions between media subjects and objects, between art and fashion or between content and commerce? This essay makes the attempt to tackle these questions by looking at three case studies: New York-based label Eckhaus Latta, Paris-based label Vetements and Canadian e-commerce site Ssense. Following my analysis of the hypertextual, user-centred marketing strategies used by these brands in order to build affective, emotional and social bonds with their customers, I will propose that the focus of the fashion industry has shifted away from the commodification of products towards the commodification of an expanded lifestyle offer – a development that I consider to be a direct result of the proliferation of digital communication technologies.

Keywords: Intangible cultural heritage, Gieves & Hawkes, Savile Row

UNESCO recognizes local craft knowledge and skills in its global system of ‘Intangible Cultural Heritage’ which has been adopted by Shanghai and Hong Kong to recognize their tailoring traditions (Legco, 2014). In London’s Mayfair, Savile Row has long been the physical and spiritual home of men’s tailoring; the street having such a strong resonance with the trade practiced there that the Japanese word for tailoring is ‘Savile Row’ (背広) (Cress, 2011). Savile Row has faced an uncertain future against the threats of fast fashion and off-shoring, but is currently enjoying a renaissance with new businesses opening and the forming of trade associations such as the Savile Row Bespoke Association (http://www.savilerowbespoke.com) to protect and promote the tailoring craft as practiced on this most famous of addresses.

The fashion industry has seen the prevalence of rebrands, relaunches and revivals and London Collections Men has drawn the fashion media’s attention to London’s cultural heritage as embodied in the bespoke suits of the Savile Row tailor. Heritage brands such as Burberry and Dunhill found success internationally, highlighting heritage and craftsmanship and placing this at the centre of marketing strategies facilitated by digital media. Fashion is often defined as ephemeral (Craik, 1993) yet heritage and authenticity are key drivers for fashion consumers (Kapferer and Bastien 2012); brand positioning around artisanship, ingredient branding and country of origin are central to fashion marketing strategies (Anholt, 2004). Brand storytelling highlighting history, associations and archives adds value for heritage brands (Hancock 2009; Lindstrom 2010).

Gieves & Hawkes is located at Number One Savile Row – arguably the most prestigious address in tailoring – and is using its 240-year history to inform a product and promotional makeover, which includes developing new lines, creating fashion films to showcase its history and displaying iconic items from the brand’s archive in-store. The brand’s three royal warrants act as a heritage calling card in Asia where Gieves & Hawkes has focused its international expansion responding to luxury consumers’ interest in heritage brands (2008).

This paper is based on field research in Hong Kong, Shanghai and London, interviews with key marketing and creative staff at Gieves & Hawkes as well as a review of brand marketing materials to analyze how intangible cultural heritage informs the contemporary fashion marketing practices of the Savile Row tailor as they expand from West (End) to East.

Anholt, S. (2004), ‘Nation-brands and the value of provenance’, in N. Morgan, A. Pritchard and R. Pride (eds), Destination Branding, Oxford: Elsevier, pp. 26–39.
Craik, J. (1993). The face of fashion: Cultural studies in fashion. London: Routledge
Cress, M. (2011, 25 October). The Routes of Savile Row. New York Sartorialist. http://www.nysartorialist.com/2011/10/feature-routes-of-savile-row.html
Hancock, J. (2009), Brand Story, New York: Fairchild Books.
Kapferer, J. N. and Bastien, V. (2012), The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands, London: Kogan Page.
Legco (2014), ‘Legislative Council Panel on Home Affairs promulgation of the First Intangible Cultural Heritage Inventory of Hong Kong’ 13 June, http://www.legco.gov.hk/yr13-14/english/panels/ha/papers/ha0617cb2-1719-4-e.pdf. Accessed 15 July 2014.
Lindstrom, M. (2010), Brand Sense, New York: Free Press.
Lu, P. X. (2008), Elite China: Luxury Consumer Behavior in China, Singapore: Wiley.

Diverse case di moda si ritrovano a dover combattere contro il mercato dei knockoffs, in quanto forte minaccia all’esclusività del design del prodotto e reputazione del marchio. Da un lato, possiamo affermare che il sistema della copia conferma che un prodotto è di successo accrescendone la notorietà e visibilità.
Nel momento stesso in cui un consumatore mette in dubbio la propria capacità di identificare un prodotto autentico rispetto ad un falso il valore della marca viene compromesso.
Il principale motivo che spinge i consumatori nella scelta di falsi è il prezzo: attrae i clienti meno abbienti e coloro che ritengono inopportuno spendere grosse somme di denaro per un prodotto la cui tendenza è limitata nel tempo e il cui valore intrinseco non è così alto a livello pratico.

In seguito alla crisi del 2016, con un bilancio chiuso con una perdita netta di 8,4 milioni di euro, il marchio Diesel (parte del gruppo Only The Brave che comprende firme di lusso come Maison Margiela e Marni) si è trovato a dover rivedere alcune dinamiche all’interno dell’azienda e provvedere ad un taglio del personale.
Per potersi rilanciare sul mercato il marchio ha deciso di cavalcare l’onda del successo ottenuto dallo streetwear in limited edition (caso Supreme) e proporre un’alternativa al lusso per giovani che potesse decollare sul mercato Europeo e Americano.

L’analisi di questo caso intende studiare come l’azienda è riuscita a riproporsi sul mercato, riguadagnare notorietà e allo stesso tempo combattere contro il fenomeno dei falsi in un’unica azione di guerrilla marketing: un pop-up shop in Canal Street (NY) che esibisce quello che appare come un vero e proprio knockoff (DEISEL) ma che in realtà è una limited edition. Questa iniziativa ha dato modo di coinvolgere i consumatori in una nuova esperienza di shopping, facendolo sentire parte dello spirito giocoso che ha da sempre caratterizzato il brand.

La campagna del 2017 #GoWithTheFlaw, che celebra le imperfezioni in un mondo, quello dei social, attento sempre a mimetizzarle; si evolve in #GoWithTheFake come inno a svincolarsi da qualsiasi stereotipo o status sociale, per chi riesce ad essere alla moda anche spendendo poco.
In questo caso il marchio ha puntato verso coloro che, normalmente si disinteressano alla moda e allo status simbol che ne consegue, facendoli diventare dei veri e propri innovatori, dando loro in mano un prodotto destinato a diventare un pezzo da collezione.

Research has shown that the editing of images within the fashion industry has the ability to affect the overall self-esteem of individuals. Following this, the fashion industry is constantly editing their images to make them more appealing to the target audience. Fashion brands are alienating their target audiences by making their brand images less relatable. The fashion industry, just like social media, is ever-evolving meaning the perfect way of communicating to the target audience would be through social media. 
Building on existing and current work, the research aims to answer; To what extent does ‘Photoshop’ on social media affect the fashion industry? 
Based on previous literature surrounding social media, the fashion industry, and social comparison, a semi-structured interview was conducted amongst qualifying participants. The respondents were selected through a convenience sampling and asked to contribute to the research. 
Analysis of the findings demonstrated that there was a clear divide in the opinions on whether knowledge of all image editing in fashion images would affect the respondent’s perceptions of said fashion brands. In addition to this, it has become clear that social comparison is a constant burden on individuals, online and offline. 
The results show that individuals are aware that image editing is occurring, but they do not know how to approach the situation. There is an increase in the need for body positivity within the advertising industry however, the one industry that can make a big difference is not helping the crisis. 
Further research is required to identify to what extent ‘Photoshop’ on social media has affected the fashion industry.

Influencers have monopolized media attention in recent years, the result of a long process lasting two decades dating from the rise of blogging at the beginning of the twenty-first century. In this article, I set out the historical framework in which the social media practitioners known as fashion bloggers and influencers have emerged and developed as relevant players in the field of fashion. I propose a reading of fashion blogging and influencing as a process articulated in four stages between 2000 and 2020. These two decades, marked by a progressive institutionalization of social media practice in the field of fashion, saw the advent of Instagram-based influencers in the second half of the 2010s and their continuing domination of fashion platforms, and TikTok’s rise in relevance in the same field during the early 2020s. I first explore the rise of fashion blogs in the early 2000s and the scholarly debate regarding its characteristics. I then frame the transition from blogging to Instagram, not just as a change of platform, but as an opportunity for the invention of a new occupation, the influencer, and the consecration of the business of influence. Lastly, I critically examine the concepts of influence and influencer.

The purpose of this study is to describe and analyze brand meanings in the context of luxury fashion among young Chinese women. The theoretical framework for this study is built from two streams of literature. The first part elucidates the concept of luxury and further introduces the three dimensions of luxury brands based on previous research: the functional, the experiential and the symbolic. In the second part semiotics is applied to explain the structure of brand meanings, and the model of interactive transfer among three elements – the culture, the brand and the individual – is introduced to demonstrate how these brand meanings are co-created in the marketplace. The qualitative data was generated through the projective Zaltman Metaphor Elicitation Technique (later ZMET) in China. Based on the various and heterogeneous brand meanings that respondents associated with luxury fashion brands, eight meaning orientations were formed, which organize respondents' beliefs and emotions towards the luxury fashion brands. The interpretive repertoire of Chinese respondents extends the meanings far beyond the ones that brands have created by themselves and those that have been recognized by prior research. This shows considerable sophistication and dedication from the consumers in the interpretation and co-creation of brand meanings. The findings may assist brand managers in developing global brand strategies that are sensitive to local differences and focus on creating personally meaningful brand experiences.

Purpose-The research objectiveis to analyze the development and evolution of digital tools in luxury fashion companies. Design/methodology/aroach-A search for specific criteria and boolean algorithms is carried out in Web of Science and Scopus on "Marketing digital" [AND] "Fashion", once the results are obtained, a selection of the most cited is made, and critical and analytical reading is carried out. Findings-The relationship between digital marketing and fashion companies is reviewed from a perspective of economic growth and, more specifically, from the industrial sector's communication and marketing described above. However, the review clarifies that using social networks as virtual channels in managing reputation and engagement is not sufficiently addressed. In this sense, in a pandemic environment such as the one currently experienced, luxury fashion companies have assumed and understood the role of digital channels in building image, reputation, and desire to purchase by consumers in an environment that allows them to generate know the trends of stakeholders. Originality/value-Reviewing the evolution of digital tools in luxury fashionto build trendsbecomes essential with the increased use of social networks. There is little research with a targeted aroach to the evolution of digital marketing in luxury fashion. For this reason, the study attempts to compile the theoretical and reflective discussion in this regard, contributing to the understanding of consumer behavior in the digital environment today.