Expensive handbags, in particular, luxury designer handbags are incredibly popular among fashionable women. This is why many fashion houses such as Chanel and Hermes offer handbags as another product line as part of their accessories category (Juggessur, 2011). Some retailers claim that owning a luxury designer handbag worth more than £1,000 can make financial sense to middle-class women, who may not spend as much on clothing, but view an expensive luxury designer handbag as an investment piece which can be used every day, adding a touch of glamour (Juggessur, 2011). The global handbag market encompasses exceedingly dynamic players and an expanding consumer base, which is expected to flourish due to increasing demand from emerging markets and strong performances by the international luxury brands (Digital Luxury Group, 2013). The top 10 markets for luxury handbags, collectively gathered over 120 million online searches, demonstrating substantial global demand for the world’s most covetable luxury items (Digital Luxury Group, 2013) (see Figure 1) . Figure 1: demand of luxury handbag globally (Digital Luxury Group, 2013) The country subjects are UK and Indonesia. Despite the fact that both of Indonesia and UK are reflected as positive luxury market (Digital Luxury Group, 2013; Euromonitor, 2014), both of the countries have differences which may lead to different motivation of luxury purchase. Indonesia is emerging market, while UK is a mature market. The rise of emerging market makes difference. Back then, individualist country is more refer to western developed countries, while collectivistic country is refer to eastern developing countries (Hofstede, 2011; Shukla, 2012). Nowadays, emerging countries are catching up with developed countries (Nielsen, 2013). Increasing exposure to global media and the depiction of western lifestyles in local media seem to have increased the desire for high-quality goods and services among consumers in emerging markets (Belk, 1999). With regards to luxury products and services, studying the consumption patterns in emerging markets is particularly important due to the phenomenal growth of luxury consumption among consumers in these markets (Shukla, 2012). For example, according to Bain and Company (2012), 85 per cent of all luxury stores will be opening in emerging markets over the coming decade. Moreover, recent studies highlight the significantly strong influence of the materialism trait with luxury consumption in emerging markets (Lertwannawit and Mandhachitara, 2011; Podoshen et al., 2011). As predicted by BCG (2010), in 2015, emerging-market cities will account for around 20 per cent which is $2.6 trillion of the total global consumption of clothing and house as a priority of future expenditures. The key consumer base for luxury goods has long since left Europe, moving West to the United States, but also East to the Gulf States and Asia, and South to Latin America, particularly Brazil (Business of Fashion, 2014). Luxury companies are no longer focusing for mature market. However, luxury goods enable consumers to satisfy their material as well as socio-psychological needs to a greater degree than regular goods (Vigneron and Johnson, 2004; Wiedmann et al., 2009). Luxury brands are one of the most profitable and fastest-growing brand segments, yet at the same time, the social influences associated with luxury brands are poorly understood and under investigated (Shukla, 2010; Wiedmann et al., 2009; Tynan et al., 2010). Increasing exposure to global media and the depiction of western lifestyles in local media seem to have increased the desire for high-quality goods and services among consumers in emerging markets (Belk, 1999). With regards to luxury products and services, studying the consumption patterns in emerging markets is particularly important due to the phenomenal growth of luxury consumption among consumers in these markets (Shukla, 2012). From those passages, it can be inferred that emerging market countries are the targets of luxury brand companies to invest in the market. Culture is changing: The rise of Emerging Market As previously discussed in the second chapter, when the political, societal, and economic environments change, people's cultural values also change. Thus, many cultural theories should be updated and re-evaluated periodically. Hence, Wu (2006) said that Individualistic vs. Collectivistic Dimension theory is no longer applicable. Additionally Saiq et al. (2014) said that Hofstede’s Individualistic Dimension work is too old and can’t be effectively implemented in the era of rapidly changing environment, convergence and globalization. The arguments by Wu (2006) and Saiq et al. (2013) is supporting Bian and Forsythe (2012) which argue that culture is changing as a consequence of the increasingly global economy especially in emerging market, converging in the direction of greater individualism. As a result, collectivist societies might adopt some individualistic elements, but this would not change their societal identity or their social label as a collective society (Bian and Forsythe, 2012). The contrasts between few contemporary studies of luxury value perception in Individualistic vs. Collectivistic Country (Bian Forsythe; 2012, Li et al, 2012; Shukla and Purani, 2012) (see Table 1) are leading to confusion in understanding value perception on luxury purchase between individualistic country vs. collectivistic country. For an instance, according to Li et al. (2012), a collectivistic country (China) has high consideration of functional value dimension for luxury purchase, but according to Shukla and Purani (2012), a collectivistic country (India) has low consideration of functional value perception for luxury purchase. Another example, according to Bian and Forsythe (2012), an individualistic county (US) consider high personal and social value dimension for luxury purchase, but according to Shukla and Purani (2012), individualistic country (UK) consider low personal and social value dimension on the luxury purchase. The study results were supporting a statement of Shukla (2012) that culture is not static and it keeps changing Table 1: The contrast between study results about value perception across culture Impact on the Future Brand Strategy Consumer value plays as critical role at the heart of all marketing movement and hence undoubtedly deserves attention of every consumer scholars (Holbrook, 1999) especially, in the next decade, customer is predicted as the key orientation of luxury business (BCG Report, 2014) (see Figure 2). The current crisis in luxury marketing area is encouraging companies to look more deeply into the links between consumers and luxury brands (Godey et al., 2013). Consumption of luxury products is based on two main reasons: the purchase for one’s self, for pleasure and purchase as a symbol of success (Godey et al., 2013). Nevertheless, whatever the perspective chosen, the brand remains the main vehicle for connecting with the consumer (Godey et al., 2013).To understand the right brand strategy, the purpose of this study is to identify the constructs of perceived peer communication in social media activities of luxury fashion brands, and to evaluate the influence of those activities on purchase intention in the UK and Indonesia. This research will propose a strategy to enhance brands' performance by defining specific factors relating to purchase intention. Moreover, the findings will enable luxury brands to forecast customer purchasing behaviour. The full conceptual model of this study can be found on Figure 2. Figure 2: The conceptual model of the study Methodology Steenkamp and Baumgartner (1998) suggest using a structural equation modelling approach for cross-culture study. SEM analysis has been successfully applied by many scholars to measure luxury value perception (Bian & Forysthe, 2012; Shukla, 2012; Casidy, 2012; Monkhouse et al., 2013; Hennigs et al., 2013). The structural equation design of this study is illustrated on Figure 3. The method of self-completion questionnaire allows for a greater geographical coverage than face-to-face interviews without incurring the additional costs of time and travel and they are particularly useful when carrying out research with geographically dispersed populations (Seale, 2012). Self-completed questionnaires were distributed to thirty students with snowball sampling by online survey to each country (UK and Indonesia) and twenty valid samples were utilised from each country. Criterion sampling strategy reviews all cases that meet predetermined criteria (Patton, 2002). Both criterion and snowball sampling techniques were components of a purposeful sampling strategy designed to identify participants with this criteria: A. Originally from and live in Indonesia or originally from and live in the UK. B. Having experience in purchasing at least one of luxury handbag. Figure 3: The structural equation design of the study Result There are significant differences of value perception on luxury handbag between Indonesian consumers and UK consumers. Indonesian consumers are highly influenced by Social Value Perception while British consumers are less influenced by Social Value Perception when buying luxury handbags. British luxury handbag consumers are more focusing on the Functional Value Perception which is not much considered by Indonesian consumers. However, consumers from both countries are highly influenced by Personal Value Perception.

Exhibitions are becoming a new important marketing tool in the fashion industry. Consumer’s interest in the haute couture and arts is increasing in parallel to the increase of the need of museums to attract visitors. While many fashion brands have been holding exhibitions, very few studies have investigated the effectiveness of exhibitions. This study aims to obtain practical implications which can be applied to further exhibition marketing processes. To this end, the main goals of this study are thus as follows: (1) to analyze the fashion exhibition cases by categories; and (2) to examine customer satisfaction by the fashion exhibition types and to determine how customer satisfaction affects the brand image. In order to classify the fashion exhibition types, a total of 160 cases held in the last five years in all over the world were collected and the range was set to the B2C fashion exhibition practices. For quantitative analysis of the customer recognition, the survey was distributed to total of 309 participants. Each of respondents evaluated three stimuli therefore the nine stimuli were respectively evaluated by 103 people. As a result of our analysis, nine types of fashion exhibitions were derived by two criteria, namely, (1) the main purpose of an exhibition and (2) the contents of an exhibition. Most fashion exhibitions are held with the goals of aesthetics, sociability, and remembrance. Exhibitions display various fashion products, such as apparel, shoes, bags, and jewellry, fashion photography, as well as various artistic media, such as video, drawings, and installation arts. The nine types of fashion exhibitions were used as a stimulus to quantitatively verify the effectiveness of fashion exhibitions. According to the results of the statistical analyses, customer satisfaction and brand image were significantly different in the fashion exhibition type but the exhibition type does not directly affect the brand image. This study provides a better understanding of the growing influence of factors on the fashion exhibitions and extends the limited research area by verifying the response of fashion exhibition visitors on the marketing level. Moreover, our results provide practical implications for fashion brands to establish successful exhibition marketing strategies.

With limited intellectual property protection of fashion products, copying is a pervasive trade practice in the US fashion industry. Fashion majored undergraduates’ evaluative judgment on similar fashion products, their future intentions to purchase copied products and to copy others’ design were examined. Evaluative judgment significantly related to retail work experiences.

Research aim and objectives Fashion blogs are personal online diaries created in order to collect and spread information about fashion trends, products and brands for a community of followers. Since their advent, fashion bloggers became key players in the field of fashion (Rocamora, 2011). Some fashion blogs achieved so much fame and notoriety to establish themselves as crucial reference points for consumers, fundamental spaces for “the production and circulation of fashion discourse” (ibidem, p.409). This exponentially growing phenomenon revolutionized the world of fashion and the concept of fashion industry itself: fashion bloggers have been included in the institutional system of fashion, beside the traditional media industry and considered together with the fashion journalism (Pedroni, 2014). The relevance of this research field is proved by the fashion bloggers’ copious and promising revenue. It is estimated that the most successful bloggers have incomes which soar into the million-dollar range annually (Blalock, 2014). According to Forbes (2015), Chiara Ferragni, the owner of ‘The Blonde Salad’ which became the Harvard’s Business School case study, is on track to take in $8 million in revenues this year. The most of the revenue comes not only from website advertisement but from celebrity appearances, partnership with luxury brands and bloggers’ handbag, shoes and clothes line collections (Keinan et al., 2015). However, despite it constitutes an extremely appealing domain for marketing studies (Kim & Jin, 2006), research on fashion blogging is still incipient (Rocamora, 2011). As the bloggers are brands themselves, the aim of this research is to deepen the fragmentary understanding of this phenomenon through the adoption of a personal brand perspective, i.e. personal branding. In order to achieve this aim, the following objectives have been set: - How do the fashion bloggers develop and turn their personal identity and value into a personal brand? - What are their communication strategy? - What are their interaction strategies? Personal Branding: an overview The expression “personal branding” was introduced for the first time by Tom Peters (1997) in his article emblematically entitled “The brand called you”. In his contribution, considered to be the manifesto of personal branding, Peters points out the dramatic changes that affected the labour market, suggesting that the only way for people to succeed in a highly competitive scenario is to transform themselves into Chief Executive Officers of their own company and promote themselves learning from some of the most successful brands as Nike, Coke, Pepsi (ibidem). Personal branding (also known as self-branding, cf. Kaputa, 2003) is based on the idea that it is possible to apply to people the same marketing and branding principles originally developed for products and companies (Sheperd, 2005). It can be defined as a process by which individuals recognize their strengths and uniqueness and promote themselves to a target audience. In other words, building a personal brand means to identify what makes a person unique and different from their competitors or peers, but it also refers to the ability to communicate, in an effective way, your own source of competitive advantage (Centenaro and Sorchiotti, 2013; Kaputa, 2012; Labrecque, Markos & Milne, 2011; Shepherd, 2005). Although Peter’s (1997) original idea of personal branding was more generally based on individuals facing the “off-line” labour market, this approach can be used also to explain some “on-line” phenomenon. New technologies, in fact, created computer mediated environments, resulting in virtual spaces where people can present and express themselves using digital traces (Schau and Gilly, 2003). Research Methodology Using in-depth interviews and netnography, this work examines how a group of popular Italian fashion bloggers managed to build their personal brands and grow their value. A multi-methods research based on the combination of no-structured interviews (conducted both face-to-face and through Instant Messaging channels) and a netnographic approach1 was used to analyze the fashion blogging phenomenon. The in-depth interviews involved four Italian fashion bloggers selected with a snowball sampling. These interviews, performed in the explorative phase of the research, in addition to provide a preliminary exploration of the fashion blogging scenario and first empirical evidence, favoured the development of categories of analysis that have been successively deepened through the netnographic approach. The netnographic analysis, started in April and still in progress, has been applied to fifteen Italian fashion blogs, selected among the 100 most followed blogs indicated by Les Cahiers Fashion Marketing, an online fashion marketing magazine. Among them, the blogs selection was performed following the criteria suggested by the literature about netnography (Kozinets, 2010): the presence of relevant information related to the research focus and questions; the presence of recent and regular communication and a large interactivity between the blogger and other participants2; the occurrence of detailed and descriptively rich data. Drawing lessons from the literature (ibidem)3, data collection was performed trough a non-participant observation approach, that has allowed researchers to collect data in a completely unobtrusive manner and work on naturally occurring texts, not distorted in any way by the analyst’s presence. The collected data included both bloggers’ posts and audience’s comments. Moreover, in addition to textual material, visual and audiovisual data have been collected and analyzed. During the analysis, two different processes of netnographic analysis, analytical coding and hermeneutic interpretation, have been usefully combined and performed. In the following paragraph, the first results obtained, until now, through a combined analysis of excerpts of interviews and netnography will be shown. Results Preliminary research evidence shows that the success of a fashion blogger depends mainly on: • A clear definition and development of a personal identity; • The effort to coherently convey the personal identity through an effective management of different communication and interaction tools; • The development of a network that can maximize blogger’s visibility and notoriety. Identity and value dimension: self-presentation strategies Blogs are usually presented as spaces in which an authentic personal style can be expressed. Analyzing the bloggers’ entries, it is possible to recognize how the concept of personal style plays a fundamental role, representing the main element on which the blogger’s identity is based (Kulmala, Mesiranta and Tuominen, 2013). The most important tool for the expression of the blogger’s personal style is posting the outfit of the day: i.e. an outfit worn on a particular day or during a particular event or occasion, based on the combination of different brands and products. As bloggers and readers’ attention is not focused on specific products and brands, but, rather, on how single pieces of clothing are assembled and combined together, every daily outfit works as a style statement expressing and reinforcing the blogger’s personal identity and, at the same time, provides inspiration and identification by his followers (Pihl, 2014). Communication strategy: style and tools The netnographic analysis shows how the starting level of the published contents is very amateur, where the bloggers usually lack a well-defined communication strategy. However, observing the sampled blogs through a diachronic netnographic approach, it is possible to recognize a gradual change involving both the writing style and the visual elements. Texts became better-finished, effective, studied in detail, with continuous intertextual references to older posts about similar or related topics. The products or brands presentation and description are never de- contextualized, but always inserted within a narrative structure. In other words, fashion bloggers make use of the potentials offered by visual storytelling, presenting products as a part of bloggers’ daily life, always intertwined with bloggers’ autobiographical information (Rocamora, 2011). Simple and interesting personal stories are displayed in order to allow readers to identify themselves with the blogger and his core values. Moreover, pictures are taken in a very professional way, paying close attention to every element as light, colours, and locations. In addition to the daily update of the blog, bloggers’ communication strategy embraces the logics of a pervasive personal branding by managing different platforms like Facebook, LinkedIn, Pinterest and Instagram in order to build a strong and coherent diffused identity on the net. Interaction strategies: network and partnerships The relational dimension involves three main types of relations. First, with readers: bloggers try to ensure audience’s engagement and loyalty, encouraging readers to express their opinions about the proposed outfit; provide customised advice and suggestions; promote their active participation through contests and giveaways. On the other hand, users use comments to support the blogger’s activity, show their approval for the proposed outfits or suggest modifications and variations to the blogger’s proposal. Secondly, the relational dimension concerns the connections with other bloggers: fashion blogs define together a community of style (Pihl , 2014), a real network characterized by continual mutual references among its nodes. It is especially through the tools of comments that bloggers promote each other, posing at the bottom of the comments links to their blog and inviting other readers to visit it. Finally, the relational dimension concerns the relationships between bloggers and fashion brands. The analysis of the in-depth interviews puts in evidence that collaboration dynamics frequently established between fashion brands and bloggers can take different forms: from inviting the blogger to choose specific brand products and give them visibility through a review on the blog, to invite the blogger to take part as a guest or model in a fashion parade or new collection presentation or in a brand photo shoot. These forms of cooperation can take more structured forms and transform into more complex co- branding strategies: there many examples of bloggers that, in partnership with well- known brands, realize and launch limited or special products edition. Implications and limitations According to our preliminary results, the success of a fashion blogger depends mainly on his ability to transform the blogging activity into a personal brand. In some cases, the branding process reaches its highest fulfilment when the blogger launches and promotes a personal collection resulting in an independent fashion brand. The interest in the phenomenon for marketers mainly derives from the different forms of collaboration that can be established between bloggers and fashion companies. For bloggers, those partnerships represent important occasions to enrich their portfolio and increase their reputation and credibility by the target audience. On the other hand, fashion companies can use blogs as a tool to collect decisive information about consumers (cf. Kulmala et al., 2013), exploit the visibility and reputation of fashion bloggers and benefit of an extremely powerful communication means. In fact, as bloggers use their own language, their messages are considered to be more direct, intimate and authentic by readers. As this study has an explorative nature, it is not aimed at generalizing its results, but rather at deepening the knowledge about a still underdeveloped and uncertain phenomenon, i.e. the Italian fashion blogging. However, the research has been performed following the evaluative criteria proposed by literature about netnography (Kozinets, 2010), i.e. coherence, rigour, verisimilitude and innovation.

A fashion social platform is a system that leverages the power of social connectivity to enable individuals to interact, accumulate information and create social values in fashion marketing. Fashion social platform participants, through their collective intelligence, give social platforms essential competence to solve economic and social issues, gather social capital, and create customer value. This study highlights the critical value of fashion social platforms and explains the relationships between knowledge sharing, social capital, and sustainable customer value. They examine (1) the effects of social network properties on knowledge sharing in fashion social platforms, (2) the effects of knowledge sharing on social capital, and (3) the effects of social capital on customer value in fashion social platforms. In the context of social platforms, this study clarifies the concept of customer value, the role of knowledge sharing, and the relationships between social capital and customer value. The study constructs a theoretical model regarding fashion social platforms and sustainable customer value that offers possible implications for fashion marketing practitioners.

The present study aimed to figure out current situation and consumer perception on the advertising of functional climbing wear in Korea. Advertising is about showing consumers how products meet their needs. In case of functional clothing, the most basic need of consumer should be a functional need (Lee, 2014;Shimp, 2010). However, research on advertisement of functional clothing, especially focused on the functional information, has not carried out in Korea. Recently research by Liu and Yoo (2014) investigated changing patterns of magazine advertising of functional climbing wear from 2008 to 2013. It is found that advertisements of professional climbing wear had been changed like fashion apparel ads in terms of functional information, celebrity model dependence, and appeal type (Liu&Yoo,2014). On 2013, over 70% of functional climbing wear ads did not provide any functional information and percentage of celebrity model dependence was dramatically increased from 1.48%to35.30%. In this study, 388 adults in their 20-50’s were surveyed in order to figure out general satisfaction on advertisements of functional climbing wear. The survey consisted of eight questions including satisfaction with reliability, communicability, type of expression, model, and contents of functional climbing wear advertisement. For analysis of characteristics of respondents, years of climbing experience, frequency of climbing, average expenses per single purchase, and frequently exposed advertising media types were asked as well as demographic characteristics. Most of respondents (83.85%) were in their 30-50’s and had 3-5 years climbing experience (29.50%).Frequency of climbing was ‘once every two months’ (35.70%) and ‘1~2 times every month’ (25.26%), and the most frequent average expenses per single purchase was ‘100~300 thousand won’ (65.25%). Frequently exposed advertising media types were TV commercials (33.60%), magazine (23.10%), and internet (9.50%). Purchase frequency was ‘once every two tears’ (31.14%), ‘3~4 times in a year’ (29.11%), ‘1~2 times in a year’ (25.06%). Results showed respondents want ‘more precise information for better understanding of performance of functional climbing wears’ (4.22point out of 5.00). Significant differences in ‘advertisement of functional climbing wear is reliable’ were observed across age and gender; male rather than female group and ages 30 are than other age groups showed higher average value. Age 40’s significantly more wanted to be informed precise information via advertisement and preferred celebrity model than other age groups. Overall, ages 20-30’s were more satisfied with the advertisement of functional climbing wear than age 50’s. The results from this study could provide practical insights to establish guidelines for providing product information in the functional clothing industry.

The rapid development of digital technology makes it possible for fashion to combine new materials and technologies that maximize visual effects. In particular, the development of various fashionable technologies, which advocate a strong experimental nature of forward-looking images, have appeared in various ways by varying costumes with multi-functional concepts which have never seen so far, or interactive fashions. This study identifies formative features and the implicative meaning of inflatable fashion by escaping from traditional methods and function of costumes to analyze various types of inflatable wear that have function and form vary depending on the situation. Since the 1960s, new PVC and polyurethane materials and the development of high-frequency sewing technique enabled the mass production of inflatable products in rides and household goods that produced inflatable costumes to trigger a new visual interest in fashion. Inflatable wear, launched from a space look, has combined with digital technologies since 2000. Inflatable wear, one of various concepts of shifting wear, can transform function and form using a sensor in given circumstances that enable a focus on transformation. Therefore, it has been changed using multi-functionalities that can cope with a varying environment. The first type of inflatable wear, which represents an expansive simple costume image, is expressed as a swollen and expanded type such as part of skirt or jacket or dress. The representative work is ‘Kinship Journeys’ (2003-4 A/W Collection) published by Hussein Chalayan, which expresses the extension of simple forms and the extension of concepts. The second type of inflatable wear is a form conversion by remote control where the form was expanded by air insertion. However, this type has been produced by performance costumes that focus on immediate variability through digital technology. Diana Eng’s ‘Inflatable Dress’ is a work that shows a visual form conversion that highlights soft silk chiffon materials to plastic-looking materials with improvements in a flat silhouette to an extended three-dimensional structure. The third type of inflatable wear is the usage conversion type of multifunction concept. It is expressed by a function shifting design that uses a multipurpose concept through a conversion of usage and form. A sleeping bag, the representative work developed by C.P Company, can be used for multiple purposes such as a parka that wraps the full body or also acts as an up-and-down separable jumper; a sleeping bag form at bedtime and a bag form when moving. An analysis of inflatable wear types showed the following results. First, inflatable wear is an enlarged concept of costume different from traditional conventional costume stereotypes that creates an expanded communication and exchange space to express the garment of wrapping human bodies in liberal and various ways. Second, fashion combined with technology acts as a multifunction that actively introduces mobility and variability in costumes and expands the meaning and concept of fashion. Third, inflatable wear fashion is expressed as a performance arena moving forward from an experimental fashion show form that shows a distinctive difference before and after air insertion. Fashion design is identified as a method to stimulate human emotion and exchange mutual feelings and as a multi-purpose device that allows the protection and concealment; consequently, it is the best method to create visual stories that express the socio-cultural trends and conditions.

The purpose of this study is to identify mobile commerce characteristics and their influence on consumer’s purchase intention in mobile fashion shopping mall. To figure out the path of influence, TAM (Technology Acceptance Model) was applied. This model explained attitudes and behaviors of users toward acceptance of innovation technology like information technology. Davis (1989) proposed perceived ease of use (PEOU) and perceived usefulness (PU) as belief variables affected attitudes of users and the attitudes in turn affected the intention of acceptance in acceptance of information technology. However it is necessary to incorporate additional constructs to the original model in the quest for increased predictive power to explain consumer’s purchase intention (PI) in mobile shopping mall. Clarke (2001) suggested constructs of mobile commerce characteristics as ubiquity, convenience, localization, personalization and so on differentiated from internet commerce. Therefore, ubiquity, personalization and enjoyment were included as external variables to explain mobile commerce characteristics besides PEOU and PU in this study. 436 adults in their twenties and thirties which were included in panels of specialized Internet research institutions nationwide were answered on questionnaires about mobile commerce characteristics, PEOU, PU, PI (Purchase Intention) and demographics. Structural equation model was made to examine the entire pattern of inter-correlations among the constructs and the hypothesis of each path was verified using AMOS 16.0 package. As a result, the fitness of the extended TAM to explain the influence of mobile commerce characteristics on consumer’s purchase intention in mobile fashion shopping mall was proven.

Based on the research finding, the conclusions are as follows: 1. According to the result of questionnaire survey, at present the apron material that chef wear does not have fire retardant function, chef expect apron material can add this function, they think apron material adding this function can protect physiological health, proving the necessity for developing fire retardant apron. 2. This study use the result of chef’s need expectation, and combine ergonomics data to adjust existing apron structure design, then this study use fire retardant cloth to develop fire retardant apron to meet chef’s need expectation. 3. Through the sensibility evaluation test of fire retardant apron developed by this study, those who exposed to higher temperature fry stove fire, charcoal fire or caldron cook in specific kitchen infield for a long period of time have higher preference and feeling.

In the age of hybrid, the fashion industry has created multiple patterns of hybrid fashion due to mixed styles and genres. Fashion mixed with tradition and future and various cultures is emerging as a trend so that Asian cultures are reinterpreted in a modern way(Samsung Design Net. 2014). Korean images also change every year into a new type of cultural hybrid. This study aims to present esthetic and trendy hybrid outer wear designs applicable to the fusion of tradition and present and the west and the east as well as diverse life styles for the major target of consumption, the senior generation with young sense. This study conducted both theoretical and empirical study. The theoretical study looked into the characteristics of digital fashion illustrations using Sumuk technique and of senior outer wear through the precedent study and literature. In the empirical study, fashion illustrations were made according to the characteristics of digital fashion illustrations with Sumuk technique, and then fabric was made through digital printing. By doing so, hybrid outer wear designs for the senior generation were developed based on the characteristics of senior outer wear, and the real artwork was made. The findings are as follows. First, the characteristics of digital fashion illustrations using Sumuk technique are the hybrid expression where the spirit of inner feeling of oriental thinking, implications of symbolism and metaphor through blanks and lines, and fortuity of ink blurs and lines are recreated in a modern way through digital fashion illustration characteristics such as hybridity of multi-cultures and heterogeneous factors, expandability of blurring boundary, human-oriented playfulness, and sensibility of inner expression. Second, outer wear for the senior generation puts the most emphasis on aesthetic factors including designs, styles, youth, and complement of figure, followed by symbolism such as convenience of dressing or undressing, comfort, functionality of flexible size, trend, express of individuality, and dignity. In addition, this generation prefers outdoor wear for social, cultural, and casual activities and demand hybrid city wear designs adding the characteristics of outdoor wear that is highly worn for various city life styles. Third, the design motifs of fabric made by digital printing of Sumuk technique-based digital fashion illustrations include traditional ornaments of Joseon Dynasty such as norigae(Korean traditional ornaments worn by women), binyeo(Korean traditional ornamental hairpin), and ddeoljam(ornamental hairpin), mix traditional and Korean spirit with modern sensibility, and connote esthetic beauty of ornamental effects for women’s beauty and symbolism of lucky signs and wishes. Fourth, senior outer wear was designed using the made fabric. Work 1 arranged prints with the motif of traditional norigae in a spaced pattern. Hybrid outer was designed with comfortable, light, and reversible functions by using A line silhouette considering the senior generation’s figure, single buttons for easy clothing change, and outdoor wear materials and highlighted the utilization of city wear. Work 2 used border pattern of fashion illustration prints that use binyeo as its motif, and it was designed for social and cultural life styles with the fusion of tradition, which uses tent silhouette durumagi(traditional Korean outer coat) and composition lines that are plane and straight lines, and modernism. It highlighted functionality by using zippers and single buttons for each clothing changing and outdoor materials. Work 3 arranged fashion illustrations made by the motif of ddeoljam in a spaced pattern. This is a balloon silhouette considering the senior generation’s figure and a urban, modern design with unbalanced hem line with asymmetry of light and left. A zipper was attached, and a light and flexible outdoor material was used to emphasize its functionality. Work 1, 2, and 3 made the fabric of cultural hybrid sense using Sumuk technique-based digital fashion illustrations and used the design considering the senior generation’s figure and an outdoor material, and expressed easy clothing change and design of city wear. This is a hybrid senior fashion design expressing the fusion and coexistence of traditional and modern beauty, Korea’s oriental beauty and modern western beauty, and outdoor wear’s functionality and city life styles. This study will contribute to the invigoration of the senior fashion market that is newly emerging and the development of high-value added products as it presents hybrid outer wear adding functionality applicable to various life styles for the senior generation with the young sense.

The newly developed green fashion product, Eco-friendly Faux Leather Apparel (E-FLA) helps minimize harmful environmental impact with a low carbon footprint utilizing the progression of Bio-based Polyurethane and Nanocellulose technique. This study investigates green product purchase intentions along with the best available socio-psychological determinants and product criteria of the consumer green product adoption that can assist to launch E-FLA products in both western (England and the US) and eastern (China and South Korea) marketplaces. A total of 1,202 female respondents between the ages of 20 and 50 from England (N=297), the US (N=305), China (N=300), and Korea (N=300) completed the online survey. ANOVA indicated significant difference in consumers’ socio-psychological characteristics (consumption values, ethical consumption beliefs, self-satisfaction of ethical consumption, perceived consumer effectiveness, and environmental knowledge) and product criteria (product attributes of E-FLA) across four countries. Purchase intention and willingness to pay a premium for E-FLA products were shown differently across four countries. Multiple regression analysis results demonstrated differences in consumers’ socio-psychological and product criteria determinants for the purchase intention of E-FLA products across countries. Evidence suggests that differentiated marketing strategies for E-FLA products are required when targeting global consumers. Practical implications and theoretical suggestions to understand consumer sustainable consumption attitudes are proposed.

The advancement of industry and science in modern society has facilitated the inherent growth of humanity due to the provisions of large amounts of information and knowledge. Deconstructionism originated from the desire for self-expression rooted in the inherent growth of humanity and desires to express various characteristics through deconstruction and not be classified and constrained by existing dichotomous structures and forms. Deconstructism (an idea to resist dichotomous ideas and existing structuralism) seeks androgyny as well as the deconstruction of sex vis-à-vis human desire. Human androgyny, inherent in history and ancient Greek myths (Kwon, 2002), is now being adapted by modern society, psychology, culture, and art (Han & Kim, 2012). Androgyny, adapted by literature, sculpture, and painting, is now being used by the production of various images as well as modern fashion costumes. It is necessary to study androgyny to provide an aesthetic value for modern fashion design that can also deeply analyze the ideas and philosophies of fashion designers. This study considers androgyny with a focus on deconstructive fashion, understanding the tendency of androgyny in modern fashion, and providing a reference material for future fashion designs as well as for the direction and development of various fashion accessories and hair accessories. This study uses internet resources and previous research from professional journals and books about deconstructionism and androgyny for a literature review. It adapts an empirical method based on visual images from the design collections of designers defined as deconstructive fashion designers by researchers and professional editors. The androgyny of deconstructive fashion is classified in this study as follows. The first are ambiguous designs that show no clear distinction between sexes. The designers show designs unconstrained by sexes and which seek human instinct through wearing fashion items of the opposite sex that use masks and express sexual ambiguity with makeup and costumes. The second is integration shown in designs with both masculine and feminine characteristics. The designers integrates the lines and details of the opposite sex with costumes and patterns to escape existing ideas and show a silhouette that eliminate sexual stereotypes. The third is deconstructivity as shown in designs with no sexual characteristic and no sexual concept. It is a trend that originated from the interpretative view that adapts the super realism of deconstructionism and is free from an existing aesthetic consciousness to deconstruct a sex role for existing costumes and refuse all standardized ideas; consequently, the roles of costumes and items are eliminated and a new fashion style emerges from the individual values and ideas of designers. The androgyny of modern fashion from deconstructionism diverges from traditional form, integrates with aesthetic factors, and becomes one of a modern style that also provides more creative design motifs for fashion designers.

In the fashion industry, designers and researchers have proposed various sustainable fashion products (i.e., sustainability in product development), and retailers have also created many sustainable business practices (i.e., sustainability in distribution). However, according to the previous researches, even though the industry have offered a variety of sustainable designs and retail offers, consumers did not show a positive purchase behavior on the sustainable products. Currently, the gap exists between industry offers for sustainability and consumers’ expectation/acceptance of those offers. This result supports that there are other aspects than environmental protection aspect of the sustainable fashion products that need to be improved and/or be emphasized on to make consumers feel confident in purchasing. To examine consumers’ purchase behavior changes on sustainable fashion products, this study will measure consumers’ equity of sustainability on existing sustainable fashion products with three criteria of sustainable designs proposed by Day and Townsend (1993), which are socially equitable, economically viable, and environmentally benign. Then, consumers’ purchase intention for sustainable fashion products will be measured. The result will show the sustainable fashion product types that currently satisfy consumers so that the industry can concentrate on and develop the types further. In addition, this study will explore the impact of well-known brand names and cause-related marketing whether they would improve consumers’ purchase intention towards sustainable fashion products. No research has studied these two variables for sustainable fashion products as well as the equity of sustainability. Finally, different benefit sought groups will be tested whether they show different acceptance/preference and impact of brand names and cause-related marketing on the sustainable fashion products so that companies can set the appropriate strategies based on their target market’s benefit sought. PROPOSED MODEL AND HYPOTHESES Based on previous researches, the authors propose a new model shown in the figure 1, and the hypotheses are developed based on the model. H1. Significant differences in equity of sustainability, purchase intention before and after cause-related marketing and the relationships in the model. H1-1. Consumers will differently evaluate equity of sustainability of each sustainable fashion product type. H1-2. Consumers will have different purchase intention on each sustainable fashion product type. H1-3. Consumers will have different purchase intention on each sustainable fashion product type after cause-related marketing. H1-4. Equity of sustainability will significantly influence on purchase intention in all sustainable fashion product types. H1-5. Cause-related marketing will significantly improve purchase intention in all sustainable fashion product types. H2. Significantly different results in H1 between benefit sought groups. H2-1. Benefit sought groups will have significantly different equity of sustainability on all sustainable fashion product types. H2-2. Benefit sought groups will have significantly different purchase intention on all sustainable fashion product types. H2-3. Benefit sought groups will have significantly different purchase intention on all sustainable fashion product types after cause-related marketing. H2-4. Benefit sought groups will show a different relationship between equity of sustainability and purchase intention in all sustainable fashion product types. H2-5. Benefit sought groups will show a different influence of cause-related marketing on purchase intention in all sustainable fashion product types. H3. Significantly different results in H1 after adding well-known brand names on sustainable fashion product types. H3-1. Equity of sustainability will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-2. Purchase intention will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-3. Purchase intention after cause-related marketing will be significantly different for all sustainable fashion product types after adding well-known brand names. H3-4. The relationship between equity of sustainability and purchase intention will be different after adding well-known brand names in all sustainable fashion product types. H3-5. The influence of cause-related marketing on purchase intention will be different after adding well-known brand names in all sustainable fashion product types. H4. Different results from H2 after adding well-known brand names. H4-1. The significant difference of equity of sustainability between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-2. The significant difference of purchase intention between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-3. The significant difference of purchase intention after cause-related marketing between benefit sought groups will be different after adding well-known brand names in all sustainable fashion product types. H4-4. After adding well-known brand names, the result of the relationship between equity of sustainability and purchase intention in each benefit group will be different in all sustainable fashion product types. H4-5. After adding well-known brand names, the result of the relationship between cause-related marketing and purchase intention in each benefit sought group will be different in all sustainable fashion product types. RESEARCH METHOD A simple black dress which is the product silhouette consistently shown through all sustainable fashion product types and relatively low involved when purchasing was selected to minimize the cognitive effort to process/judge the product attributes (Tucker, Rifon, Lee & Reece, 2012). The equity of sustainability is determined as an average score of economic viability, social equity, and environmental responsibility of each sustainable fashion product type. Benefit segments most commonly studied in the previous researches are selected for this study which are price-conscious, fashion-conscious, brand-conscious, convenience-conscious, quality-conscious, self-express, and self-confidence groups. Brand name is a moderator variable to test the brand name effect on participants’ response. Two different versions of questionnaires were distributed. One version shows brand names on the product types, which are selected as reliable brand names from a pretest in terms of quality and credibility, and the other version does not show any brand names on the product types. The reliable brand names are luxury brands such as Ralph Lauren rather than middle to low-priced brands. Both versions include the question for purchase intention before and after cause-related marketing (e.g., “If 10% of this sales is donated to a non-profit organization to preserve our environment, I would buy this item.”). Only female consumers are allowed to participate in the survey because the stimuli are dresses. Surveys were distributed by a commercial survey data collection company. Total 399 surveys were usable (non-brand version, n=190; brand name version, n= 209). The majority of participants are between 25 to 44 years old (22-34 years 49.1%, 35-44 years 16.8%) and has a college degree (college degree 52.6%, graduate school degree 25.8%). RESULTS & CONCLUSIONS From the data analysis (see table 1), non-brand companies would have a benefit by offering transformable products in which consumers feel more value than other sustainable fashion product types. When showing luxury brand names, participants evaluated upcycling products as the highest equity of sustainability and purchase intention after cause-related marketing. The zero waste luxury brand product received the highest purchase intention before cause-related marketing and also received a significantly higher equity of sustainability than the non-brand zero waste product. Therefore, it is recommended for luxury brands to show their sustainability practice on the product through labels, especially showing a zero waste production label. The result in all sustainable fashion product types regardless of brand names showed that the higher sustainability, the higher purchase intention. Thus, again, it is important for companies to educate their sustainability practices (e.g., economic, social and environmental values) to consumers through either promotions or labels on the products. For both non-brand and luxury brand products, promoting a donation or support for community/society (i.e., cause-related marketing) on the product would influence consumers' purchase decision when selling the upcycling, recycling and promotion on fashion products. For example, companies could create/include a symbol of their cause-related marketing or include a symbol of a non-profit organization on the sustainable fashion products. Considering different benefit sought groups, the high fashion involved group scored the variables higher in most sustainable fashion product types in the model than the low fashion involved group did. When companies plan to offer sustainable fashion products, they need to target the high fashion involved group for a better sales outcome. Even though participants perceived that the upcycled product was highly sustainable, they purchased different product types. The high fashion involved group highly intended to purchase the transformable product in the non-brand product types and the animal-free product in luxury brand product types in both before and after cause-related marketing. Luxury brands are the ones typically consume most real animal furs and skins, and this might influenced the participants’ purchase intention. The low fashion involved group were willing to purchase the product with organic materials in both non-brand and luxury brands, but cause-related marketing increased the purchase intention on the most of product types. Companies targeting a low fashion conscious group are suggested developing/promoting organic fashion products and actively promote their community/society involvement. Regardless of benefit sought groups, higher equity of sustainability generated higher purchase intention. Again, companies need to inform/promote their sustainability practices to consumers through products or media to improve sales. The impact of cause-related marketing on the purchase intention was significant for the low fashion involved group in the upcycling, recycling, promotion on the product, zero waste and transformable products regardless of brand names. Therefore, when companies cannot appeal consumers with their brand names, the cause-related marketing plays an important role. The low fashion involved consumers seem to consider the after-purchase impact on the society than product itself when purchasing sustainable fashion products. The cause-related marketing had less impact for the high fashion involved group on their purchase intention than the low fashion involved group; however, the purchase intention of non-brand upcycling and the upcycling, recycling and promotion on the product for luxury brands have significantly improved after cause-related marketing. Companies, especially luxury brand names, need to include cause-related marketing when selling those product targeting the high fashion involved group.

Storytelling has become increasingly of interest for marketing and management in the last years and promises both aesthetic design and effecting consumers’ perception of fashion brands positively. Nevertheless, the complexity of story design, still being rather focussed by the humanities, and its effective adaption for luxury fashion brands regarding value perception and related behavioural consequences are still poorly understood and have not been explored so far. We seek to fill this research gap. In our study, we chose a luxury brand’s existing story and applied story concepts of narratology to rearrange plot, characters, and style first. In a second step, we examined the effect of applying the story concepts by testing the perception of three different groups (no story, original story, and rearranged story). Using PLS path modelling, we proved our hypotheses empirically. Our examination suggests that an application of narrative concepts for creating fashion brand stories has a measurable impact on consumer’s reception and behavioural outcome. On the one hand, this involves dimensions of luxury value, such as financial, functional, individual, and social consumer perceptions as well as an overall likability perception of the brand. On the other hand, this perception obviously impacts consumption habits regarding luxury fashion as much as it is related to recommendation behaviour, willingness to pay a premium price, and purchase intentions. Our findings strongly advice to consult established theories, concepts, and models of the humanities for storytelling in marketing and management. While measuring specific elements already proves their applicability, it will be a major task for theoretical and qualitative research to discuss existing material for the demands of marketing and management as well as (fashion) brands. Even for professionals in brand management, our study advices to have a closer look on traditional storytelling concepts to create effective campaigns. The particular value of our study is to present and empirically verify design elements of storytelling with respect to theoretical narrative approaches, which may have specific impact on certain luxury values and their causal effects on luxury fashion consumption. Our results reflect remarkable implications for luxury brand management as well as future research in luxury fashion, brand management, and marketing storytelling. A luxury company may stimulate purchase behaviour with a storytelling campaign. Nevertheless our study proved that a rather appropriate design, respecting research approaches of narratology, is able to increase the impact on consumers’ perception and behavioural outcome.

In this empirical study, an attempt is made to show how the Customer Lifetime Value (CLV) can be computed by modeling multiple components of the customer and firm behavior. Specifically, attention will be given to modeling (1) the probability that a customer is likely to buy, (2) the quantity of purchase given that they will buy, and (3) the cost of marketing to each customer. Once the authors compute each of these inputs, they combine them to compute CLV using the net present value concept. The authors will examine multiple ways of computing purchase probabilities depending on the customer’s buying pattern. They will also discuss the estimation challenges in obtaining such inputs for computing CLV. The authors will demonstrate the implementation with a case study for a fashion retailer and what kind of managerial actions can be taken. Finally, a generalizable framework for all fashion retailers to maximize profits will be presented and discussed.

The global luxury market is relentlessly growing over the last few decades, defying the global economic crisis. It is estimated that the luxury market is made up by a continuously enlarging heterogeneous group of 330 to 380 million consumers worldwide. The consumption of luxuries goes beyond the riches and wealth of countries, as the highest luxury spenders are to be found in places like the Middle East, Japan, and China. Luxury goods’ penetration relatively to GDP is low in countries like Germany and the U.S. and high in Italy, France, and South Korea. Wealth and economics alone cannot explain the economics underlying luxury consumption; culture is an important driver of growth in this sector. Culture gives meaning to luxuries, affects the perceived value and motivations to buy luxury goods, and determines luxuries’ signaling power and potency as differentiators and identity signifiers. Today, despite the size, growth and geographical spread of the luxury goods market, cross-cultural research is limited and rather scattered in different fields. Much of the research undertaken draws from Hofstede’s typology of culture and focuses on a narrow range of conceptual issues. The purpose of this presentation is to review and summarize existing cross-cultural research on luxury products and to identify fruitful future research directions that will expand our understanding of luxury goods marketing. In addition, attention will be given to examining current trends and behaviors in the field

Reviewing survey research published in the Journal of Fashion Marketing and Management during the years 2010 – 2014, we highlight two areas where theory testing in global and cross-cultural fashion marketing would benefit from improvement. In particular, cross-sectional, single-source research designs and alternative explanations threaten the internal validity of the literature. Our aim is to discuss how a series of well-established survey preparation techniques and post hoc tests can overcome these threats and strengthen the findings stemming from global and cross-cultural fashion marketing research. At the core of our recommendations are recent advances in common method variance testing and covariate analysis. We discuss how these prescriptions can be used to advance theories related to large-scale global and cross-cultural fashion marketing research efforts.

“What makes a label sell: its name or the person behind it?” (The Guardian, 3-3-2000) It seems like fashion houses have spent the last decade playing the musical chairs game with their fashion designers (Socha, 2012). At Saint Laurent Paris, for instance, Hedi Slimane, who was the label’s men’s creative director from 1997 to 2000, came back as creative director in 2012 to replace Stefano Pilati (2004-2012) who, himself, had replaced Tom Ford (2000-2004) previously. Meanwhile, at Louis Vuitton, Nicolas Ghesquière left Balenciaga to fill the shoes of Marc Jacobs who had been creative director for the label since the late 1990s (1997-2013). And at Dior, Raf Simons took over from Bill Gaytten (2011-2012) who had discretely held the ship after the abrupt departure of John Galliano (1996-2011). The phenomenon of a brand having to replace a key persona with whom it is cobranded is far from rare: sports team regularly draft new athletes, television screenwriters kill beloved characters because actors are leaving their shows, and political parties must replace departing leaders. In these contexts, as in fashion firms, maintaining brand equity across successive cobranding alliances with key personae is a challenging brand management issue. In this research project, we aim to further our understanding of how fashion brands can maintain equity by examining how they manage ongoing cobranding between the house and the designer, especially given the challenges faced by the succession of designers – or game of musical chairs - most houses face. The research questions guiding this effort are as follows: 1) Why do fashion houses cobrand with key personas? 2) What challenges are associated with cobranding with key personas? and 3) What strategies are enacted to address these challenges? To investigate these questions, we have examined the ways that some of the most successful fashion houses manage their brand equity through the dynamics of cobranding. We illustrate our findings with the case of Saint Laurent Paris, a fashion house established in 1968 by Algerian-born French designer Yves Saint Laurent. In this abstract, we first review some key literature on cobranding, then discuss our methodology. We conclude by presenting our preliminary findings. Theoretical Perspectives on Cobranding A generic definition of cobranding refers to it as an alliance “in which two or more brands are presented to the public” (Newmeyer, Venkatesh and Chatterjee 2014). In practice, conceptualizations of cobranding vary. One that is common entails “ingredient branding” in which a key ingredient of one brand is some other brand, such as an Intel chip inside a Dell computer (e.g., Desai and Keller 2002). Another common conceptualization refers to two parent brands launching a new product, as when “two leading fashion houses…join forces to create a new line of clothing” (Monga and Lau-Gesk 2007, 391). Recent work has also acknowledged that cobranding can take place between people and brands. For example Wilcox and Carroll (2008) discuss celebrity cobranding, wherein a celebrity cobrands with a product brand. And in the organizational literature, the fact that a CEO’s personal brand is intermingled with that of the company that person manages has been well recognized (e.g., Graffin, Carpenter, and Boivie 2011). Our conceptualization of fashion designers as cobranded with the houses that employ them is consistent with such research, in that it considers a type of cobranding in which an employee who is a key persona in a company, and that company’s product offerings, are together presented to the public. A frequent assumption in much cobranding research is that it takes places “between two successful brands” (Monga and Lau-Gesk 2007, 389); however, in practice, it is possible for the two brands in an alliance to vary in the extent to which they are already well known and successful (Cunha, Forehand and Angle 2015). Further, cobranding arrangements can vary in terms of the level of integration; in some instances, cobranding might entail mere co-location, whereas in others, the brand partnership may mean that the features of the each brand are tightly integrated and difficult to decouple (Newmeyer et al. 2014). Relatedly, cobranding may vary in terms of duration, ranging from a promotional cobranding that is intentionally short-lived to enduring cobranding that is intended to persist for years or decades. The focus of past cobranding research has frequently been on exploring how consumers respond to cobrands. However, scholarly attention has also been turned to the strategies that firms use to manage the challenges of cobranding. Our work falls within the latter category. Methodology Data Collection To examine the dynamics of cobranding with a key persona in the fashion context, we collected a combination of archival and observational data from five major fashion houses: Balenciaga, Dior, Gucci, Louis Vuitton, and Saint Laurent Paris. The archival data includes articles drawn from the fashion coverage of the last fifteen years of: The New York Times, The Financial Times, The Guardian, The Wall Street Journal, The Daily Telegraph and Le Monde. Coverage from fashion industry key media references such as Women’s Wear Daily, Style.com and Vogue.com is comprised as well. Using Factiva, Lexis-Nexis, and the fashion houses’ own digital archives, we searched and collected articles that pertained to the disintegration of the cobranded alliance and integration into of the new cobranded alliance for the fashion houses mentioned above. In our dataset, we also included reviews of promotional materials such as fashion exhibitions (e.g., Müller and Chenoune’s (2010) “Yves Saint Laurent”), and popular culture artifacts such as films (e.g., Lespert’s (2014) “Yves Saint Laurent”). Furthermore, to help us contextualize the branding strategies and practices of the fashion houses, we reviewed documentaries and books published about the fashion industry such as Nicklaus (2012) “Fashion Go Global,” English’s (2007) “A Cultural History of Fashion in the 20th century,” Palomo-Lovinski’s (2010) “The World’s Most influential Fashion Designers,” and Steele and Menkes’ (2012) “Fashion Designers: A-Z.” Finally, our archival dataset was complemented by observational data gathered from visits to the fashion houses’ New York City flagships and department stores’ concessions. Data Analysis Following the conventions of qualitative research (Belk, Fischer and Kozinets 2013), the analysis of our data was an iterative process of interpreting, deriving new questions, searching for and collecting new data, and rejecting, confirming, and refining our emerging interpretation until reaching sufficient interpretive convergence and theoretical saturation. We present a summary of our findings in the next section. Findings Below, we indicate our answers to the three research questions raised in the beginning of this abstract. 1) Why do fashion houses cobrand with key personas? Luxury fashion houses operate in an institutional field where the logic of art and the logic of commerce are intertwined (Scaraboto and Fischer, 2013). While fashion may not be art per se, well-respected figures such as Pierre Bergé, Yves Saint Laurent’s longtime romantic and business partner, consider that it requires an artist to create fashion (Bergé, 2015). Dion and Arnould (2011), in their research on the charismatic aura of contemporary luxury fashion designers, have argued that managing the relationship between a fashion house and its artist, i.e. the designer, is an essential element of successful luxury brand management. In the fashion industry, cobranding efforts between a fashion house and a designer thus appears to be a deeply institutionalized norm from which deviating could be risky. One reason behind this institutionalized norm is that the business of fashion requires constant renewal (e.g., Agogué and Nainville, 2010). The introduction of a new designer within an established house can serve this renewal purpose. Moreover, as celebrity culture seems to pervade every sphere of life, the phenomenon of celebrity designers resonates with broader socio-cultural trends (Agins, 2014; Oeppen and Jamal, 2014), reinforcing the value of a key persona’s vibrant image. 2) What challenges are associated with cobranding with key personas? For a fashion house, at least two challenges are associated with cobranding with a key persona: 1) maintaining brand continuity and 2) protecting the brand from a key persona’s imperfections. The first challenge implies that while the nature of the fashion industry invites brands to constantly refresh their offerings and engage in innovation (Oeppen and Jamal, 2014), fashion houses, like other brands, must also strive to maintain brand continuity in order to preserve their brand equity (Keller, 2000). Maintaining brand continuity while keeping the brand fresh suggests maintaining a clear and differentiated brand positioning while enrolling new brand meanings that can sometimes be contradictory or counterintuitive (e.g., “Gucci's top designer to refashion YSL look,” Finn, 2000). When a fashion house joins forces with a key persona, the aesthetic, style and cut of what the designer creates must somehow blend with the core attributes of the fashion house to create, an overall brand experience that is innovative, yet reminiscent of the house’s signature. The second challenge fashion houses face when cobranding with a key persona is protecting the brand from human imperfections. Among these “imperfections,” the most obvious is the inevitable mortality of key personas. In addition, key personas, by virtue of being human, have other purposes in life than consistently serving the market. Their actions and behaviors may sometimes conflict with, be counterproductive to, and/or undermine their own brand equity development (Parmentier and Fischer, 2012,) and that of their partner in a cobranding alliance (e.g., Béroard and Parmentier, 2014). 3) What strategies are enacted to address these challenges? We identify strategies enacted to disintegrate relationships with designers who are departing and those used to integrate new designers into cobranded relationships with the houses that hire them. Examples of strategies enacted to disintegrate cobranding relationships include “erasing” “denigrating,” and “respectfully acknowledging” the departing designer. Examples of integrating strategies include “legacy linking,” “restricting sphere of influence,” “fostering self promotion,” and “encouraging innovation.” The paper defines these strategies, notes that they are not mutually exclusive but rather may be complementary, offers examples of all strategies drawing on the data collected, and offers preliminary insights on the implications of these strategies.

This paper will investigate social marketing strategies and tactics used to promote sustainable fashion consumption. It will map the impact of selected ethical awareness-raising campaigns by Asia-based sustainability champion NGO, Redress, using a case study method to determine the effectiveness of promotional practices employed in promoting environmentally sustainable fashion brands.

This paper aims to investigate the alignment between fashion companies’ CSR policy, as communicated through company website, and CSR retail practices customers can actually observe or get information about when visiting company’s retail stores. The case study analysis is carried out using the Mystery Shopping technique. The sample is made up of companies belonging to the top of the fashion luxury pyramid, whilst the visited stores are located in Italy. The purpose of this paper is to provide a classification of companies’ behaviours in deploying CRS policy at the retail level, and to highlight different levels of fit between companies’ CSR policy and CSR practices communicated at the retail-store level. Our results reveal that several companies show a mismatch between their CSR policy and CRS practices communicated in stores to customers.