This study examined whether and how consumers who seek a bargain in their shopping for luxury fashion brands differ from traditional luxury consumers or non-luxury consumers on their market-related attitudes. To do so, this study compared multi-dimensional perceived values, fairness price perceptions, satisfaction with purchase, brand loyalty, and future purchase intention among luxury consumers, luxury-bargain seekers, and non-luxury consumers. Data was obtained from online surveys and the market-related attitudes were compared using an ANOVA test. The comparion of three types of consumers revealed that luxury-bargain seekers and regular luxury consumers are distinct consumer markets. Overall, luxury consumers displayed high perceived values and brand loyalty and were fairly satisfied with the purchase at full-prices. On the other hand, luxury-bargain seekers showed significantly low perceived social value, perceived fairness toward the original price of the brands, and brand loyalty. They were satisfied with the bargain purchase but not likely to purchase the luxury at full-prices in the future. Understanding these distinct types of consumers and targeting them with different product and pricing strategies are important for luxury brands and retailers to expand luxury consumer base without diluting their brands’ prestige image. Potential marketing strategies based on the findings of this study were suggested.

Introduction The fashion business is known as one of the major industries that is suffering from rising concerns about the consumption of its product, which led to a reorganization of the fashion supply chain to become more sustainable three decades ago. The interest in the concept of sustainability and demand for sustainable marketing activities is gradually growing in the fashion industry due to the negative image and press it receives. Within the luxury fashion segment, the three main themes that are recognized to contribute to sustainability are exclusivity, craftmanship and limited production. However, luxury brands are increasingly shifting their attention and commitment towards environmental and social issues to be incorporated in the concept of sustainability. Yet, the majority of consumers has little understanding or misunderstands the concept of sustainable fashion and marketing, which leads to a gap between attitudes towards sustainability and actual behavior. As a result, fashion brands are trying to leverage their brand by making sustainability a key marketing strategy to raise awareness about social, environmental, economic and cultural issues. Extant research has not explored this recent trend to understand how consumers evaluate fashion brands with a sustainable marketing communication, especially in the context of luxury brands. This study investigates how luxury and mass fashion brands can utilize sustainable marketing contents in social media communication to reach their target group and enhance their equity with sustainability associations. Theoretical Development Associative network models of memory have served as a fundamental framework for a wide range of studies related to the formation and transfer of associations. According to associative network theory, brand knowledge is represented in form of an associative network of memory nodes connected to each other. Nodes are activated when cues, such as advertising, are presented. Mere exposure to cues was shown to be sufficient to active associations and facilitate association transfer. While brands are continuously attempting to make use of associative power to leverage brand equity, extant research has provided compelling reasons to accept that association transfer can also result in brand dilution when a retrieval of conflicting or negative associations occurs. Especially in the context of luxury brands consisting of very unique associations and being different from mass brands in many regards, managing the brand’s associative network is a crucial task in order to send the right signals to consumers and maintain exclusivity. This study investigates how social media communication of different sustainability dimensions affects brand attitude and how it ultimately impacts behavioral outcomes in an attempt to build brand equity for mass and luxury fashion brands. Method and Data The hypotheses are tested with 273 respondents who participated in an online experiment. They were first asked to state their involvement with the category fashion. Subsequently, subjects were presented with a brand post either for the mass or luxury brand including claims related to one of the four sustainability dimensions or no claims for the control group respectively. The experiment consisted of a 2 (brand: mass or luxury) x 5 (sustainability dimensions: none, cultural, economic, environmental, social) factorial design. The measures that followed included attitudinal as well as behavioral constructs related to the brand, sustainability as well as social media use. Analysis of covariance is applied to test for main effects and interaction effects. Summary of Findings This study provides evidence that social media communication of a sustainable brand affects the purchase intention of consumers. The findings indicate a significant difference between the mass and the luxury brand used for this study. The mass brand exhibits the potential to leverage associations with cultural, economic, and environmental sustainability. However, the results only reveal a marginally significant higher purchase intention when cultural sustainability is communicated compared to when the brand does not provide any sustainable associations. In contrast, the luxury brand suffers from significant brand dilution across all four sustainability dimensions resulting in a decline in purchase intention. Key Contributions The findings reveal that sustainability communication exerts a diverging influence depending on the type of brand that is involved. This study suggests that mass brands are able to benefit from sustainability communication in an attempt to leverage brand equity. However, for a luxury brand this type of associations rather presents a liability that might dilute the brand. The findings of this study provide important insights for brand managers. Since mass brands are currently increasing efforts into sustainable communication in the fashion industry, the results suggest that this might be a promising investment. However, luxury brands are advised to carefully manage the communication of salient content related to sustainability as it might harm the invaluable and unique associations inherent in a luxury brand.

The study aims to analyze and compare how fashion brands of different categorization communicate in Instagram. Six global brands (Zara, H&M, Prada, Gucci, Nike, and Adidas) are chosen to be analyzed due to their different type/category of brands and their worldwide recognition. Netnography concept and method is used to conduct the data collection and data analyze during a period of time of six mouth. The results show that overall fast fashion brands (Zara and H&M) emerge to be more effective than other fashion categories in online communication. The Haute-de-couture brands (Prada and Gucci) reveal to be very similar in the way they communicate, demonstrating a good level of interactivity with consumers. The Sports brand (Nike and Adidas) have a low level of communication with the consumers and low number of photos and videos uploaded, which results in an average online communication of the brands in Instagram. This research highlights that to be successful in the online communication, fashion brands must be always updating photos and videos, they need to interact with consumers and make them feel a part of the brand, use celebrities to give more notoriety to the brand and be always present in the latest trends.

The millennials are an important generational group of consumers who purchase luxury online and therefore to know their attitude to luxury has become a significant subject for our study. This study explores whether materialism, need for uniqueness, susceptibility to normative influence, and social media usage affect millennials’ attitudes and purchase intentions toward luxury fashion brands online. In addition, this research examines moderating effect of each dimension of national culture on the relationship between factors and millennials’ attitudes toward luxury fashion brands online. Hofstede’s framework is considered to be the most reliable measure of national culture (Yeniyurt & Townsend, 2003). We used four dimensions of Hofstede’s model of national culture: masculinity, individualism, power distance and uncertainty avoidance. In study 1, we examine millennials’ attitudes toward luxury fashion brand through Q methodology. In study 2, we examine relationships between variables using the SPSS 20.0 program for descriptive statistical analysis and the AMOS 20.0 program for structural equation model (SEM) analysis. The findings will enable marketers of luxury fashion brands to understand millennials’ attitudes toward luxury fashion brands and increase the sales among this target group.

This study aims to demonstrate the effectiveness of social media marketing as a tool in communicating a “populist” (Scott, 2015) luxury fashion brand’s good intentions toward ordinary people; it also seeks to identify whether luxury fashion brands frequently perceived as exclusive and “envied” could become approachable and “admired” brands, simply by expressing “warm” intentions on their social media sites. Ultimately, we aim to investigate whether positive relational outcomes can be derived from the brand repositioning process, from envy to admiration. This study builds on the brands as intentional agents framework (Kervyn, Fiske, & Malone, 2012), which categorizes brands in terms of their “intentions” and “ability”: “able/ill-intentioned” luxury brands are categorized as “envied brands,” while “able/well-intentioned” brands elicit the general public’s admiration. Our pre-test results confirmed that consumers can sense a brand’s good intentions and ability via its social media site. We then conducted an online selfreported survey among 488 US women aged 18–49 years who were following or “liking” at least one luxury fashion brand’s official social media site. Using structural equation modeling, we found that intentions have a negative impact on consumer envy, and that they have a positive impact on consumer admiration. Ability was found to have a positive impact on consumer admiration of the brands, while it has a negative impact on consumer envy. Although we confirmed negative directions, consumer envy of the brands had nonsignificant impacts on both emotional brand attachment and brand forgiveness. However, consumer admiration of the brands had a positive impact on both kinds of brand responses. In conclusion, while most luxury fashion brands have stuck to exclusivity, the findings of this study imply that by continually showing good intentions towards ordinary people, luxury fashion brands could reposition themselves as admired brands, which would in turn enhance emotional brand attachment. In this way, these brands could cultivate affectionate and passionate consumer–brand relationships making consumers feel more connected to them. In doing so, luxury fashion brands can acquire through social media powerful consumer allies (Phan, Thomas, & Heine, 2011), who are willing to forgive their failures.

Recently, as the development of media contents accelerated, auditory-based contents, especially ASMR, has been taking center stage in its field than visual-based contents. They are meaningful in a way that they are alternative contents that suggest a new space and possibility through aural stimulation, getting out from the boundary of excessive visual stimulation of existing media. According to Jang, Park, & Lyou (2016), ASMR is originally the abbreviation of a medical term, ‘Autonomous Sensory Meridian Response’. However in 2010, Jennifer Allen for the first time presented the definition that ‘ASMR is a specific sound that gives pleasure', and recently it is used as a coined word among young people rather than medical terminology (Jang, Park,& Lyou, 2016). Consumers listen to ASMR for stress relief, psychological stabilization, and relaxation through repeated, constant sound triggers (Zhang, 2015). The triggers used in ASMR marketing draw a stronger commitment within the consumers, by accompanying visual stimuli consistent with auditory stimuli (Sim, 2014). As reported by Hong (2017), commitment is a state of sensorial arousal when a person is totally lost in something and among all affective commitment relieves stress and enhances enjoyment; therefore raises quality of life and helps to live a rich life (Hong, 2017). This shows that there is a close relationship between satisfaction and enjoyment about experiences of ASMR content that leads to commitment, and such phenomenon creates a state of immersion that collapses the distinction between consumers’ past, present and future. Throughout the process, consumers meet the chance to recall the familiar sound that they have experienced in the past, and therefore remind of nostalgia on it (Zhang, 2015). Belk (1990), within the view of marketing, referred to the conceptual definition of nostalgia as a kind of longing atmosphere promoted by sensory stimuli such as scene, smell, and music. Zhang (2015) says that one of the important factors that cause nostalgia is sound, and one calls of the past through a specific sound which is an external stimulus – ASMR is included in it. Consumers can acquire prior knowledge of the brand while enjoying ASMR contents, and they can even have indirect experiences without having direct experiences of actually purchasing or wearing products. This helps to inspire the expertise of the product, and also plays a role in shaping positive consumption emotion such as pleasure and sensibility (Yang, 2016). Fashion products, especially, are more sensible than general consumer goods and due to excessive diversity of products, rational and deliberate purchasing rarely happen. Thus, consumers can build positive brand equity through ASMR marketing by learning specialized knowledge about products that could not be obtained from other marketing. In this study, we propose the new compound word ‘ASMR marketing,’ which combines marketing with the definition of ASMR of the coined term. Electronic word of mouth(EWOM) by ASMR marketing is a process in which the consumers communicate about product information and usage in the online community without the intervention of the seller. Through the characteristics of electronic word of mouth and ASMR, it is easy to infiltrate into daily life of the consumers and easily imprint the individuality of the brand to them (Wang, 2015). Although ASMR appears in ads of HeatTech and AIRism of UNIQLO, a fashion brand, ASMR triggers are not used as a background music and narration. In fashion industry, the use of sounds from the production process of fashion products, or the sounds that occur when wearing them, highlights professionalism and stimulates nostalgia by attracting consumers' emotional commitment. In addition, when ASMR marketing is applied to a luxury brand rather than SPA brand, expertise can be emphasized more effectively. ASMR has been spreading like a fashion in recent years, and marketing of ASMR in fashion brands has not yet been researched actively. The purposes of this study are: first, to analyze significant meaning and value of ASMR in auditory sense field in modern days; second, to identify the characteristics of ASMR marketing through emotional commitment and nostalgia; third, to investigate the effect of ASMR marketing on consumers. Although ASMR, therefore, is used only as a mitigation tool in medical field, this study combines media and marketing with ASMR, suggests it as a tool to enhance the profitability and brand equity of fashion brand. This study would help shape the trend of new culture by collaborating ASMR marketing with fashion brand. Furthermore, a cornerstone of related research can be established by presenting a causal relationship that emotional commitment affects nostalgia and brand equity. This study will be able to offer fashion companies diverse ways to establish ASMR marketing strategy.

As a result of the growing abandon of traditional advertising approaches, luxury brands are strategically focusing on social media marketing influencers for product and services’ endorsement through daily narratives (Abidin, 2016; De Veirman et al, 2017). Nowadays, social media are an integral part of marketing and advertising. The use of social media sites as twitter, facebook, instagram etc has started to be a part of the luxury fashion brands « advertising » campaign and has shown a valuable opportunity for luxury fashion brands to position themselves in new markets. Social media, in their being a two-way platforms for communication by allowing users to interact with each other (Kim and Ko, 2010) and share information but also with influencers, may represent a fundamental tool to increase customer awareness and improve customer relationship in particular in China. This study aims at exploring and analysing how a Chinese social media became the main trend setter for luxury fashion brands in China and how its influencers played a key role in reinforcing customer relationship for the luxury fashion market in China. The study focus will be on the main Chinese social media platform for luxury fashion, Wechat, and the role of influencers in increasing Chinese luxury customers’ brand awareness and relationship. Through the study of the social platform and its SMM – social media marketing – influencers’ and advertising followers, the article will analyse and provide the success factors for Wechat social media platform in positioning itself as the most influential SMM platform for luxury fashion brands in China.

Cewebrity is somebody who is only, or perhaps mostly famous through their presence on the Internet, an internet person who crosses over to the mainstream, so called web celebrity or Internet celebrity. Recognizing that Internet celebrities’ participation will bring about improvements of company performance, marketers have considered them to be new source of innovation dedicating to company’s success. For example, fashion companies believe that Internet celebrities have good innovation ideas on clothing collocation or even fashion design. Given the relevance of Internet celebrity in practice, researchers have begun to address its merits (Stever and Lawson, 2013). However, it is not yet a well-established field of academic inquiry, because Internet celebrity’s specific characteristics has not been well developed yet. Based on the nature of Internet celebrity as consumer, the theory of customer value co-creation is appropriate to explain these new generated celebrities’ activities in new product development. Activities of Internet celebrities in value co-creation can be shown as communication, idea conception, and product design (Genc and Benedetto, 2015). The current study mainly focuses on the effects of fashion internet celebrities on whole process of product development including product design, production, and commercialization by developing the scale of internet celebrity’s attributes under the perspective of customer value co-creation. Theoretically, the study fills up the research gap that no prior research develops the scales of Internet celebrity and test its effects on new product development. Practically, our work is highly useful for marketers understand the effects of Internet celebrity, thus developing appropriate strategies to utilize them.

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study’s data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study’s results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals’ physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women’s social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women’s physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

As the number of SNS(Weibo) users in China is growing rapidly, Chinese fashion brands are heavily dependent on SNSs as a fashion marketing communication tool. For this reason, the characteristics of SNS accounts and their influences on SNS users’ responses need to be studied. Thus, the present study aimed to investigate the influences of the characteristics of Chinese fashion brands’ SNS accounts(Weibo) on the perceived usefulness of and satisfaction with the SNS acount, and brand loyalty. Data were collected via a questionnaire survey of men and women living in Beijing or Shanghai aged from 18 to 49 with experience of SNSs(Weibo). After a pilot survey of 70 subjects, the preliminary questionnaire was revised and then translated into Chinese. The questionnaire translated into Chinese was back-translated into Korean to ensure the translation was correct. The final questionnaire was administered to 600 subjects. Exploratory and confirmatory factor analyses, reliability analysis, and structural equation model analysis were conducted for data analysis. The results of this study were as follows: Five factors were extracted for Weibo characteristics: interaction, information provision, information recency, information reliability, and information playfulness. The information reliability, information playfulness, and interaction of SNS accounts(Weibo) had significant influences on perceived usefulness. The information playfulness, information reliability, and information recency showed significant influences on satisfaction. The perceived usefulness exerted significant influences on satisfaction and brand loyalty. The satisfaction also had statistically significant influences on brand loyalty.

Today, consumers are becoming more sensitive to price since price have been an essential motivation for them to choose the electronic retail venue. Recently, it is recognized that social commerce, with higher rate of daily active users, is ahead of traditional electronic mobile commerce in Korea. One of strengths in social commerce is attractive price deals for fashion brands, which positively lead to purchase probabilities. Therefore, fashion retailers should understand consumers’ price perception and their responses toward sales promotions on the social commerce. The purpose of this study is to examine the effect of consumer price perception and choice heuristics on impulse buying behavior for sales promotion of fashion brands and to examine the moderating effect of an engagement level in the social commerce. A self-administered questionnaire was developed, and mainly included consumer price perception (e.g., price consciousness, sales proneness), choice heuristics (e.g., affect referral, price referral), engagement, impulse buying and demographics. An online survey was undertaken by a research agency. A total of 235 usable responses were obtained from Korean consumers who had purchased fashion brands from social commerce sites (e.g., Coupang, Wemakeprice, Ticketmonster, etc.) using mobile devices. Respondents represent more females (n=129, 54.9%) than males (n=106, 45.1%). They are aged from 19 to 39 years old (Means=29). Results showed that consumers’ sales proneness had a positive effect on affect referral and price referral heuristics, which positively lead to impulse buying behavior. However, consumer price consciousness had a negative effect on impulse buying at the social commerce sites. Also, the mediating effect of the engagement was significant in the relationship among sales proneness, choice heuristics, and impulse buying behavior for sales promotion of fashion brands in the social commerce sites. This study discussed marketing implications for social commerce to effectively manage promotional program in the social commerce market.

It is certainly not possible to analyse the evolution of the global luxury consumers orientations for the new luxury Chinese brands without considering the essence and the impact of the “brandscape”. In the last decade, China has assisted to the surge of the “luxury lifestyle” for a multiplicity of consumer segments living in those coastal areas – and not only - filled with luxury and fashion brands, that invaded every city area from streets to airports from clinics to hotels where concept stores, luxury flagship stores, sponsorships for events and urban artefacts “add value to the symbolic production of an urban lived space” (Bellini and Pasquinelli, 2015). Luxury product brands are enriched by the synergy with the city brand and the diverse fashion and art city locations, activities and events. In the new luxury perspective that sees luxury in its experiential dimension and no longer only in desire of an exclusive object, the relation of luxury brands and city brand requires a specific focus, in particular in the new fast growing economies as China that sees the rise of the new experiential luxury lifestyle and new local luxury brands. In the fast growing luxury Chinese luxury market where new Chinese luxury brands are striving to acquire a brand identity and image first in the local market and then in the international one, city branding may be a conductive solutions for brand value and identity creation. Authentic luxury experiences in significant city contexts appear added value activities for luxury brands in particular for those with no consolidated heritage and identity as the new Chinese luxury brands. New retail formats such as pop-up stores, concept stores located in specific high value artistic or fashion related locations adds value (Bellaiche et al, 2012). For Chinese luxury brands with a very limited identity, a almost absent heritage and a ongoing value creation of the brand, in-store experience is increasingly important (Atsmon et al, 2012) and the shopping location certainly represent an important factor for the increasingly diverse and demanding luxury customers by being not only the instrument towards the desired subjects but also a value-adding experience on its own (Rintamaki et al, 2007, p. 628). The emergence of the Chinese luxury consumer did not mean the presence on a market where the consumers are gathered by the same tastes, desires and purchasing patterns. Reference to the global consumer culture and paradigm evidenced that consumers in diverse geographical contexts may have different and sometimes even conflicting opinions or shared desires and values expressed in similar behaviours or symbols towards a brand. Global brands sets the international standards and convey shared symbols (Holt, Quelch and Taylor 2004) and a myth of cosmopolitanism to which many consumers world-wide appreciate (Strizhacova, Coulter and Price 2008).Brands represent a form of culture and they relate to the way people live, think, eat and choose to wear as well, a form of seeing life and the world (Askegaard, Kjeldgaard and Arnould, 2009) . Luxury brands have become increasingly present in the Chinese consumer market and lifestyle and the role of purchasing luxury goods experiencing a luxury lifestyle has taken an unexpected importance and meaning in the Chinese social context. China has started to experience the consumer culture only after China's opening up to the market economy as a result of the economic reforms post-1979 that have given to "aspirational" consumers more freedom to develop a consumer culture partially away from political limitations but still permeated in the Chinese culture and its characteristics. Those reforms have also given rise to the private businesses and the birth of a consumer middle class, "the new rich", in China. The birth of the Chinese middle class has fuelled the emergence of a highly diversified consumer class with different purchasing attitudes (Latham, 2006) and a new way to express their taste, their motivation for purchasing (Gillette, 2000) and in particular an increasing brand awareness, mode of purchasing and conceptualisation of luxury (Rambourg, 2014; Rovai, 2016). Distinctive aspects of luxury consumer culture have started to emerge in the late years, evidencing new desires for Chinese luxury consumers with respect to luxury brands, accompanied by the entrance in the market of Chinese luxury brands aspiring the capitalise on the increasing "Chinese luxury desire" but limited by their lack of specific characteristics of authentic luxury brands - heritage, identity and prestige amongst others. As a result, this research focuses on the analysis of Chinese luxury brands presence in the local Chinese urban context; specifically, it focuses on how the Chinese urban fashion context can help to support the creation of a luxury brand value and also reinforce a luxury brand identity and image in a Chinese luxury consumer culture that does not possess a luxury heritage. An analysis of two luxury Chinese brands and a local luxury and fashion concept store has been initiated together with further evidence from the Shanghai urban context, its activities, events and cultural specifics together with the following a qualitative method and in particular Yin (1989) case study approach. A series of 15 interviews have been held in late 2016 in Shanghai with the two Chinese luxury brands creative designers, owners and staff during one month together with observation and consulting of documents. Literature review has focused on the role of individual brands that, being somehow associated with the city become a collective brand (Pasquinelli, 2014), framing "the complex network of associations, linking products, spaces, organizations and people (Bellini and Pasquinelli, 2015). Initially, an important attention has been oriented towards the geographical associations to the country-of-origin effect (Bilkey and Nes, 1982; Johansson et al, 1985) later on evidencing that a defragmentation into of smaller geographical units may be appropriate at urban level (Bellini and Pasquinelli, 2015) to highlight the relevance of the "origin" not simply in relation to a broad geographical context where the brand manufactures a product but also „the place, region or country where a brand is perceived to belong‟ (Thakor and Kohli, 1996, p. 26). The origin being not only a matter of product production but more of product conceptualisation, perception or consumption going towards the "brand product usage context" (Gerr et al, 1999). Brand product usage happen in those spatial circuits whose cities are part of and whose role may be conductive to the „local origination‟ of product brands, adding value to the birth and internationalisation of locally originated brands (Pike, 2011). Those local brands are developed from an ecosystem composed by relations and ownerships involving a multiplicity of stakeholders whose customers are an integral part (Power and Hauge, 2008). In the literature, Fashion capitals is a unique case of those ecosystems with a specific relationship between industry and spacial circuits is based on the urban context instrumental to fashion creation and also to consumption (Breward and Gilbert, 2006). The city as a part of the consumer culture and in particular as part of the brand product experience (Thrift, 2004). As a result of the literature review and the conceptualisation of fashion capitals as ecosystems conductive to the fashion creation and consumption, an exploratory study of: Which context related variables affect new Chinese luxury brands identity and value and how the China fashion capital ecosystem affects Chinese luxury consumers brand perception. The paper will show an insight of the instrumental relation of the "brandscape" Shanghai and the impact on the Chinese luxury brands value and identity acquisition with respect to Chinese consumers.

Introduction The current fashion industry has been overrun with fast fashion products in the last couple of decades. Consequently, it has become one of the most environmentally degrading industries worldwide, and is plagued by social and economic inequalities (Fletcher, 2013). The fast fashion apparel industry produces pollution and waste; and wearers are exposed to hazardous materials. The fast pace of the fashion industry has also led to unsafe working conditions that can result in detrimental influence on workers as in the 2013 Rana Plaza collapse in Dhaka, Bangladesh. Furthermore, the individuals responsible for making the fast fashion products often live in underdeveloped countries and are paid below national minimum wage (Niinimaki, 2013). In contrast, the sustainable fashion industry aims to produce safer, cleaner, and more impactful apparel. A part of the growing sustainable apparel industry is slow fashion, which emphasizes creating fashion products at a less-intensive pace with environmentally-minded techniques. Slow fashion movement is an emerging trend within the fashion industry that counteracts the harms of fast fashion. The term „slow fashion‟ was first used by Kate Fletcher and shares several characteristics with slow food, from which the slow fashion movement got much of its inspiration (Cataldi, Dickson, & Grover, 2010). Slow fashion is thought to represent a blatant discontinuity such as a break from the values and goals of fast (growth-based) fashion (Fletcher, 2013). Slow fashion attempts to remedy the various negative economic, social, and environmental global impacts of the current fast fashion system. The purpose of this study was to analyze the material-oriented trends of representative fast fashion and slow fashion brands toward the development of sustainable fashion. This study aimed to answer the following questions: 1) By what efforts in terms of material usage do the fast and slow fashion brands promote sustainable fashion? and 2) How do these efforts influence apparel manufacturing as sustainability practices and consumers‟ purchase intentions? Backgrounds Moore and Fernie (Moore & Fernie, 2004, p. 31) defined fast fashion as “various strategies to respond commercially to the latest fashion trends”. Fast fashion brands, such as H&M, Forever 21, and Zara, use a combination of quick response and enhanced design techniques to quickly design, manufacture, and stock trendy apparel and accessories that consumers can purchase at an affordable price (Cortez et al., 2014). The manufacturers of fast fashion brands struggle to provide innovative merchandise in their preferred production timetable (Cortez et al., 2014). In such an overloaded manufacturing process, the apparel industry has experienced increased pollution and hazardous work environments. Slow fashion is defined as “a philosophy of attention that is sensitive to environmental and societal needs and to the impact production and distribution have on society and the environment” (Karaosman, Brun, & Morales-Alonso, 2016). Antanaviciute and Dobilaite (2015) report that the slow fashion industry is sustainable and seeks a greater purpose than making profit, and is thus characterized with promoting fair economic, environmental, and social systems within the fashion cycle. In the slow fashion movement, the materials used to produce garments are environmentally friendly. Sustainable fashion is achieved when available materials are used to their ultimate potential; waste materials are utilized; the products are recycled; and a second life for the fashion products is planned (Sharda & Mohan Kumar, 2012). In addition, sustainable fashion uses biodegradable materials such as organic cotton, polylactic acid, and other biopolymers etc. (Fletcher, 2013). In the production phase, garments workers who produce sustainable fashion products are paid a living wage, unlike their counterparts who work for less than a dollar a day in the fast fashion industry. Throughout the slow fashion supply chain, reducing the speed at which the products are produced and consumed is emphasized. Slowing down the production phase results in end products of better materials, with more material-construction input-time, and longer-lasting overall final product, as compared to typical fast fashion items. Case study This study was conducted based on a case study. We analyzed the sustainability practices in aspect of fiber materials of two representative brands: a fast fashion, Zara and a slow fashion, People Tree. Several resources were used to collect the information necessary for the case study. The primary resources were academic articles, reports, and brochures from companies‟ websites. The information on both companies was very useful to understand their products and sustainability practices as a fast fashion and a slow fashion brand. Zara is a ready-to-wear fast fashion retailer based in Spain, which was created by Rosalia Mera and Óscar Pérez Marcote in 1974. Since its creation, the fast fashion retailer has built a reputation for manufacturing and stocking on-trend clothing at the customer‟s demand. The company sends small shipments year-round to stores and subsequently monitors the customers‟ reactions by adjusting the store inventory. The retail giant has employed over 10,000 employees and is a private company that, according to the Business of Fashion, was worth $16.7 billion in 2013 (Hansen, 2012). Zara is known as affordable luxury (Gamboa & Goncalves, 2014) for its on-trend imitations of high-end clothing pieces that are inexpensive. The average Zara consumer is young with an age range of 18 to 24 years and female (Gamboa & Goncalves, 2014). Zara was chosen for this case study based on its unique and successful fast fashion business model. Zara has been criticized for numerous violations in manufacturing practice, including a lack of hygiene and safety in its Argentinian factories. The workers‟ rights NGO La Alameda, alleged that the working conditions consisted of no breaks and poorly lit and unventilated conditions (Crotty, 2013). The company compensated the workers and was forced to pay $530,000. People Tree is considered as a pioneer in the slow fashion movement and sustainable fashion. The company has implemented many measures to increase its economic, social, and environmental sustainability. People Tree was the first fashion brand to develop an integrated supply chain for organic cotton from the farm to the final product. Furthermore, they were the first organization to achieve a Global Organic Textile Standard certification. They source their yarns, fabrics, and accessories locally, as well as choose natural and recycled products over the toxic, synthetic, and non-biodegradable materials typically found in fast fashion products. The People Tree producer group is comprised of over 4,560 artisan producers, which includes hand weavers, hand knitters, embroiderers, tailors, and group leaders. They allow local individuals to produce and create incredibly unique products, thus generating livelihoods and incomes for these individuals who typically reside in very rural areas. Zara uses a variety of synthetic and organic fibers and textiles in its clothing. Zara partners with a company called Lenzing to source recycled polyester, cotton, and wool when available, and then donates any extra textiles not used in manufacturing products. Zara prioritizes using organic cotton and recycled materials. Organic cotton is grown and manufactured without harmful pesticides. Zara has become one of the biggest users of organic cotton, which is a part of their Join Life campaign and in collaboration with the Better Cotton Initiative (Inditex Annual Report, 2016). Zara also uses three types of rayon in its products: Modal, Viscose, and Lyocell. These materials are made from cellulose fibers, which take longer to harvest and manufacture than cotton. People Tree does not use polyester in its products, and most of its clothing is made from organic cotton and wool. It uses 100% fair-trade certified organic cotton that is certified by Soil Association (People Tree Seventh Biennial Social Review, 2011-2012). In addition to cotton and wool, it uses a fiber called “Tencel,” which is made from wood pulp. Tencel is a Lyocell product, also made from cellulose fiber, which is stretch-resistant and highly versatile. Zara uses both synthetic and organic fibers; whereas, People Tree uses organic fibers in the manufacturing of products. Lyocell is one of the most revered sustainable fibers currently on the market. Lyocell is a cellulosic fiber, specifically derived from wood pulp, normally eucalyptus (Fletcher, 2013), beech, and pine (Gordon & Hill, 2015). In a typical process, the wood pulp is dissolved in a solution of amine oxide, a solvent, which is then spun into fibers; subsequently, the solvent is removed from the fibers through a washing process (Fletcher, 2013). The manufacturing process recovers 99.5% of the solvent and the solvent is recycled back into the process (Fletcher, 2013). The solvent is non-toxic, non-corrosive, and all effluent is non-hazardous (Fletcher, 2013). Lyocell has many other environmental benefits such as complete biodegradability (six weeks in an aerated compost heap), and of renewable raw material (eucalyptus has a fast-growing cycle and reaches full maturity in seven years). No bleaching is used prior to processing the fiber, thus reducing chemical, water, and energy consumption in the dyeing process; hence, Lyocell is considered as a “very clean” fiber (Fletcher, 2013). While Lyocell is considered a very sustainable product, its production is energy intensive. However, due to recent research, the amount of energy used to make Lyocell has begun to decrease (Fletcher, 2013). Lyocell is also known by its brand name, Tencel (Gordon & Hill, 2015). Companies such as People Tree have begun to use products like Tencel in their everyday-clothing production. People Tree‟s “Our Tencel” collection is produced by Creative Handicrafts, a social enterprise working to actively empower disadvantaged women of the slum communities of Mumbai through economic independence. Like every producer of People Tree‟s clothing or Tencel products, Creative Handicrafts works to provide fair pay and safe treatment for all their workers. They also work to improve the lives of those employed by Creative Handicrafts. People Tree is currently using their “Our Tencel” collection to upskill the workers, making them qualified for higher paying and more difficult jobs should they choose to leave Creative Handicrafts. They aim to provide workers with a greater range of fabrics that they can work with for future client‟s needs. This provides the workers with greater business opportunities. The slow fashion brand‟s attributes attract ethical consumers. The ethical consumer considers the impact of consumption in terms of environmental and social responsibilities (Barnett et al., 2005). The likeliness of ethical consumer‟s purchasing or willing to purchase a slow fashion product depends on the customer‟s level of involvement. A consumer with high involvement who is willing to purchase the product at a higher price, is not attracted to mass fashion trends, and shows intent to purchase an apparel product for environmental reasons (Jung & Jin, 2016). McNeil and Moore (McNeil & Moore, 2015) found correlations between concern levels for both environmental and social wellbeing and consumer‟s intentions towards sustainable apparel. Similarly, it is possible to predict the preference of ethical consumers to purchase a fast fashion product if made of sustainable fiber materials. Conclusions We analyzed the material-oriented trends of representative fast fashion brand, Zara, and slow fashion brand, People Tree, toward development of sustainable fashion. The kinds of materials used by each brand in manufacturing fashion products, and recent efforts in sustainable practices of both fashion brands were analyzed. The results indicated that the fast fashion brand, Zara has begun to incorporate sustainable fibers such as organic cotton into their products, and the slow fashion brand, People Tree uses more sustainable fibers such as Tencel and organic cotton for its garments and other products. The efforts involved in the trends of fast and slow fashion brands toward sustainable fashion were anticipated to attract ethical consumers‟ purchase intentions. The current findings suggested that new technology offers innovative manufacturing processes producing more eco-friendly products, less waste, and less pollution, which begins to mitigate the negative environmental effects of the traditional fast fashion industry. Implications and limitations This study was intended to analyze the efforts involved in the production of fast fashion and slow fashion brands in aspect of fiber materials, toward the overall goal of sustainable practices. This study may be useful to designers, manufacturers, and retailers who hope to better understand the trend of sustainable practices of both fast and slow fashion brands. Since ethical consumers presumably prefer sustainable products, this study may help designers, manufacturers, and retailers establish optimized strategies tailored to such trends. This study has a limitation due to selection of a small number of brands, which prevents the generalization of the results to all fast and slow fashion brands.

Many fashion brands have established brand pages or accounts in social media platforms as a vehicle to promoting brand and managing customer relationship. Customers’ interaction in social media with other customers and brand page maintainers could attract their attention of the brand and inform their purchase decision. Despite the significance of the interaction in social media, there has limited attention on the social media using experience specified in fashion brand area. Drawing on theories and concepts from diverse areas including social media marketing, consumer psychology, and fashion brand management, this study propose four dimensional of social media using experience to understand how the experience with fashion brand page could enhance customers’ fashion consciousness and status consumption behavior. Data collected from customers who following main fashion brand pages in Instagram and used to test the hypotheses. Implications for research on social media marketing of fashion brand are discussed.

Some clothing manufacturers and retailers use attractive endorsers on their advertising. However, according to recent research, consumers with low body esteem evaluate the clothing items more negatively when they try them on in the fitting room and find that they are inferior to the attractive advertising endorser wearing the same items (Dahl, Argo, & Morales, 2012). Is it always true? Should clothing companies not use attractive endorsers? When Dahl, et al. (2012) emphasized the negative impact of an attractive endorser and discussed body esteem, they implicitly assumed body-related consumption, in which consumers wear clothing items to enrich their physical appearance. However, other research on fashion has suggested that consumers often wear clothing items for self-expression (e.g., Piacentiti & Malier, 2004). Luxury fashion brands have been particularly regarded as symbols of wealth, so consumers wear luxury fashion clothing items to show off their high status (Shavitt, 1989; Wilcox, Kim & Sen, 2009). Thus, status-related consumption should be considered in addition to body-related consumption. Considering status-related consumption, this research introduces another kind of self-esteem, i.e., status esteem, which refers to how confident consumers are in their status. Assuming that there are two types of self-esteem, body esteem (or external esteem) and status esteem (or internal esteem), both of which are related to clothing, we hypothesize that consumers low in status esteem will evaluate a status-related product more positively than consumers high in status esteem when their consumption aligns (vs. when it does not align) with an attractive endorser even though they are low in body esteem. To test the hypothesis, we conducted three laboratory experiments. The result of multiple regression analysis showed that our hypothesis was supported. By suggesting that even consumers with low body and status esteem can evaluate status-related product positively, when finding that they are inferior to the advertising endorser in terms of body, this research expands our understanding on how attractive advertising endorsers affect consumer evaluation of clothing items focusing on two kinds of selfesteem, body and status esteem.

This study addresses how agency costs influence the sustainability of different types of corporate governance. The luxury fashion brand could spend large sums of money on maintenance of magnificent brand image, thereby increasing the agency cost. On the contrary, the brand may hold down wasteful spending to report a gaudily financial achievement. Agency costs are defined either to vertical costs arising from the relationship between stockholders and managers, or to horizontal costs associated with the potential conflicts between majority and minority stockholders. Agency costs are measured by the value of the principal component. The study conducted regression analysis of each agency cost index, luxury fashion brand dummy and a set of control variables. The findings show that the agency costs of the firms with luxury fashion brand exceed those of control group.

Despite the positive outcomes of brand-consumer interactions on social media documented in the literature, an important question still remains: Are active brand-consumer interactions always beneficial to luxury fashion brands? This study argues that such interactions may undermine the core perceptions of the brands by making consumers feel too close to the brands. Drawing upon construal level theory of psychological distance, the purpose of this study is to examine the negative effects of brand-consumer interactions on perceptions of luxury fashion brands (i.e., social perception, uniqueness perception, quality perception) in a social media context. Two experimental studies were conducted. The purpose of Study 1 was to test the hypothesis that luxury brands, compared to mainstream brands, will be perceived as more psychologically distant and abstract. Study 1 used a 2 (brand category: luxury vs. mainstream) x 2 (brand replicates) mixed-model design in which the brand category was a between-subject factor and the brand replicates were a within-subject factor. Fifty-nine subjects recruited from Amazon MTurk participated in the study. The results of Study 1 revealed that luxury brands are inherently psychologically distant than mainstream brands. The purpose of Study 2 was to test the impact of brand-consumer interactions (i.e., high vs. low) and the mediating role of psychological distance on the three perceptions of luxury brands (i.e., social perception, uniqueness perception, quality perception) on social media. A single factor between-subjects design was used, and a total of 74 participants were recruited from Amazon MTurk. To manipulate the level of consumer-brand interaction (high vs. low), two versions of a luxury brand’s mock Facebook pages were created. For the high interaction condition, the brand responded to consumers’ posts in a friendly way and displayed the images of user photos. For the low interaction condition, the brand did not respond to consumers’ posts and displayed no images of users. As predicted, the results showed that participants indicated lower brand perceptions when the brand’s social media page displayed a high level of interactions than a low level of interactions. Moreover, formality, a measure of psychological distance, partially mediated the relationship between brand-consumer interactions and all the three brand perceptions. The findings of this study provide empirical evidence that active consumer-brand interactions on social media do not necessarily benefit luxury fashion brands, rather they can damage consumer perceptions of the brands. This study provides important implications that luxury fashion brands should maintain a sacred distance on social media; otherwise it will undermine important perceptions of the brands such as status signaling, exclusivity, and quality.

Given the recent modest growth of the personal luxury good market and the urge to face difficulties through innovative brands’ marketing communication strategies, this paper examines the potentialities of tactical associations between luxury fashion brands and furniture design. Results indicate that there can be positive repercussions deriving from luxury fashion brands and furniture design interconnections. In particular, associations with collectable furniture design may help to define and enhance brands’ luxury values whilst providing consumers with innovative and creative luxury brand experiences. Future expectations in this market show a compound annual rate (CAGR) of 3% to 4% through 2020, to just about €280 billion. This is dramatically slower than the past fast growth experienced from the mid-1990s to the late 2000s. In this scenario, luxury fashion managers and marketers must envision new strategies to succeed and surpass competition. In order to be competitive and successful, luxury brand managers must take into account current market dynamics and find pertinent and substantial solutions. This paper shifts its attention to the identification of how in such a difficult scenario different cultural industries can meet in order to mutually enhance their circuits of value. Some studies have demonstrated that in order to meet such new global challenges, luxury fashion firms may discover strategic opportunities in art (Codignola, 2016). Given their symbolic connotation and aesthetic value, high-end furniture design items are more and more perceived as art works exchanged in art auctions or fairs, collected and purchased by collectors, exhibited in galleries or museums. At the same time, furniture design goods show some divergences from conventional art works (i.e. functionality, reproducibility, etc.) and some correspondences with fashion goods. By observing the luxury fashion sector, one may then find--for different sets of reasons--more than one interesting intersection with the furniture design sector. By taking into account the furniture design sector within its specific market features and goods, this paper argues that through furniture design LFBs can develop engaging creative and innovative brands’ marketing communication strategies. Compared to art, such strategies would be able to add value and strengthen LFBs’ luxury features even in a more effective way.

The market distribution channels has changed from single to multi-channels due to the diffusion of digital development products. In addition the new consumption emergence has been applied in showrooming and reverse-showrooming. One of well-known shopping district in South Korea, Dongdaemun, has been introduced Dongdaemun-based fashion brand which use on/offline multi-channel distribution. This study aims to segment multi-channel attributes of Dongdaemun-based fashion brands and analyse the effects of customer equity attributes, customer satisfaction, and re-purchase intention. The goals of this study are as follows: 1) to identify multi-channel attributes of Dongdaemun-based fashion brands, 2) to analyse the influence of multi-channel attributes on customer equity, customer satisfaction, and repurchase intention, 3) to explore the consumer group differences on shopping orientation. This study applied means-end chain theory to conduct in-depth interviews for the purpose of deriving the multi-channel attributes of Dongdaemun-based fashion brands and explore the influence of such attributes on customer equity, customer satisfaction, and re-purchase intention. This study collected 493 samples and structural equation modeling was used for final data analysis. The main findings of this study are as follows. The multi-channel attributes have a significant impact on value equity and brand equity. Relationship equity is influenced by product diversity, entertainment, and informativeness. The all of customer equity drivers have significantly impacts on repurchase intention and only brand equity have significant effect on repurchase intention. Also, customer satisfaction affects re-purchase intention. Brand equity have a significant influence on CLV. The consumers group differ in how consumers recognize multi-channel attributes of Dongdaemun-based fashion brands, based on channel preference. This study shows the importance of customer equity and suggests long-term implications for the development of Dongdaemun-based fashion brands.