This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen’s men’s fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand’s official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.

ㅊThis study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology—relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect— can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

Clothing is intimately intertwined with daily lives as every individual relies on it. The pervasive issue of plagiarism in the fashion industry has led to an increased demand to protect intellectual property rights. Currently, studies on the protection of fashion design intellectual property rights in China remain in the exploratory stage and warrant further investigation. This paper addresses the issue in two parts. The first part contains an analysis of the theoretical foundation for the protection of fashion design copyrights. It is further divided into three subsections. The first subsection primarily examines the concept of copyrights and laws. The second subsection focuses on the concept of fashion design copyrights and laws. The third subsection analyzes copyright laws concerning fashion designs in China. The second section offers an analysis of infringement cases involving fashion designs published during the Baiyi Cup Intellectual Property Case Summary Writing Competition held in China in 2023. It outlines the shortcomings of the current Chinese copyright laws regarding the protection of fashion designs, and proposes measures for improvement. This study argues that the institutional framework for intellectual property rights in the Chinese fashion industry should align with practical considerations and explores suitable legal regulations and how they relate to specific circumstances in China. Besides refining the legal framework, fashion designers and enterprises must take measures to entablish the intellectual property rights of their clothing brands.

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the development of deconstruction and neo-deconstruction, with neo-deconstruction’s aesthetic features termed ‘traditional fusion’, ‘positive playfulness’, ‘open communication’, and ‘multiple inclusiveness’. These features informed an analysis of Feng Chen Wang’s fashion design. Four key findings emerged. First, ‘traditional fusion’ combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, ‘positive playfulness’ promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, ‘open communication’ emphasizes design that combines practicality and creativity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, ‘multiple inclusiveness’ breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.

China is leading the global fashion market value in 2023 with consumers experiencing an integration of traditional consumption and production approaches to innovative ones triggered by the internet of things (IoT). This high speed ‘inspire and sell’ consumer conversion approach (ibid) is both enabling fashion consumption and introducing alternative approaches to end of life items. This finds Chinese consumers on the top of the global fashion consumption ranks raising even more the importance of sustainable practices. On an industry level, the shortened fashion cycles, the changes in item longevity, the low prices and the fast-moving consumer trends have attributed to an increasing waste generation as consumers discard clothes more frequently. Increasingly, studies alert to the availability of alternative end of life fashion practices, such as, swapping, renting selling etc offering more choices in terms of reducing fashion waste. Yet research related to these efforts seem to have a national or regional perspective and approach and most of the studies are located and focused on western societies.

The wide application of digital media technology in fashion shows has become the epitome of the development and innovation of today's fashion industry, enabling designers to break through the constraints of time and space, changing the performance of today's fashion shows, and making them present unprecedented new features. With the development of information technology, the integration of emerging digital technology and the fashion industry is accelerating. So far, separate studies have been carried out in various academic fields on the combination of Metaverse and NFT, but the current status and nature of relevant research are still incomplete. Furthermore, the current research on virtual fashion shows and NFT in China's apparel industry is limited. The purpose of this study is to investigate the influence of digital fashion marketing stimulation on consumer brand attitudes using the stimulation-organ-response (SOR) framework model. By analyzing 77 cases of virtual fashion shows in China, this study obtained antecedent variables and designed a research model. An online sample of 300 Chinese Gen Z consumers was collected and analyzed using SPSS and FSQCA. This research hopes to provide valuable information for the sustainable development of China's fashion industry, and to help Chinese fashion brands confirm the future market development direction of Metaverse and NFT.

This research not only determined the preference of fashion brand distribution channels of active Korean and Chinese seniors who became major consumers in the fashion industry, but also analyzed the effect on these preferences and choices of distribution channels depending on personal consumption characteristics and differences between the two groups. Data was collected by a professional survey firm. SPSS 24.0 and AMOS 24.0 were used for empirical analysis, and frequency analysis, multiple response analysis, EFA, reliability analysis, CFA, SEM, and multiple-group comparison analysis were performed. As a result of multiple response analysis, the offline channel was revealed as the preferred fashion distribution channel for active Korean and Chinese seniors; the second most popular was the online channel. The results of multiple-group comparison analysis reveal differences between two groups in seeking emotional consumption via the offline channel; the effect was only evident for active Korean seniors. A difference in seeking emotional consumption via preference for online channel also existed, but only for active Chinese seniors. For these reasons, marketers targeting active Korean seniors will be effective to not only offer brand information by fashion display to let seniors understand the fashion brand, but also to have brand events to form positive emotions toward the fashion brand. Moreover, targeting active Chinese seniors will be necessary to transmit brand sensibility by utilizing metaverse marketing comprising various factors, so that consumers can enjoy the fashion brand.

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics—including religious cultures and totem worship—and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the “seven-star” sheepskin cape, one of the Naxi people’s important ethnic costumes as demonstrated by the women’s clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled “By the Light of the Moon and the Stars,” which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people’s seven-star sheepskin cape is a symbol of women’s clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people’s traditional culture.

This study was conducted to investigate the effect of relationship and service marketing on the brand interest and behaviors among Korean and Chinese active senior consumers and whether this effect differed between the two groups. A survey was conducted by having participants complete questionnaires administered by a research firm. For empirical analysis, frequency, EFA, CFA, SEM, the metric invariance test, and multiple-group comparison analysis were performed. The analysis results revealed that relationship marketing positively affected both brand interest and consumer behavior. Although service marketing positively affected brand interest, it did not have a significant effect on consumer behavior. In other words, brand interest positively affected consumer behavior through relationship and service marketing. Multiple-group comparison analysis demonstrated that no difference existed between Korean and Chinese active consumers in terms of how relationship marketing affected their brand interest, but a difference existed in how it affected their behavior. Service marketing had a greater influence on Chinese active senior consumers’ brand interest than on Korean active senior consumers. However no difference existed between the two groups with respect to how service marketing affected their behaviors. Finally, brand interest had a positive effect only on Korean active senior consumers’ behavior through relationship and service marketing, but not on Chinese active senior consumers. In conclusion, relationship and service marketing should be used to enhance the brand interest among Korean active senior consumers, and business activities should be planned by building relationships with Chinese active senior consumers to affect their behavior.

The purpose of this study is twofold: First, to develop new sustainable design methods (aligned with ethnic elements and traditional culture) combined with three-dimensional digital clothing technology throughout the design process, which can be presented as guideline materials for various fashion designs to be developed in contemporary sensibilities. Second, it is the intention to produce creative fashion designs by incorporating the characteristics and methods of Miao’s Huangping batik dyeing technique and to present various possibilities in the fashion design field. The overall design characteristics sought by Miao minority are in line with the complex terrain and the ecological and climatic conditions. Miaoist batik dyeing (registered as part of Chinese national intangible cultural heritage) features unique production methods and patterns. The study results are as follows. First, this attempt has enabled understanding of the national costume culture as Chinese Miao’s traditional cultural heritage to be promoted, while the direction of contemporary design development using traditional elements has been presented. Second, the study demonstrated new and innovative expressions and styles relying on three-dimensional digital contouring technology and identified the possibility of developing various designs. Third, it was confirmed that the dyed batik pattern design created by the three-dimensional digital contouring technology could be recombined or expanded as digital printing to express the traditional ethnic designs in a practical manner utilizing digital printing techniques based on traditional characteristics.

This study aims to develop fashion designs that combine atlas fabric with the characteristics of Uygur costume to modernize the costume of the Xinjiang Uygur. Research contents and methods are as follows. First, based on previous studies, research analysis was conducted on the cultural background, clothing characteristics, and material of Uygur clothing. Second, based on such research contents, designs combining the characteristics of Uygur costume and atlas fabric were presented. Third, to analyze the utilization of atlas fabric and examine fabric characteristics, material was gathered from collections on domestic and foreign web sites. Through field explorations of local museums in the Xinjiang area, minority group culture was observed in more detail. Based on collection of traditional clothing and analysis of its characteristics, fashion designs that apply contemporary trends were developed. General silhouettes without any restrictions to the waist and decorations made using embroidery were often used. Atlas silk, developed in China using Ikat weaving methods, is an important traditional clothing fabric of the minority group Xinjiang. Based on such data collection analysis, the produced works highlighted traditional ethnic characteristics by extracting classical patterns of atlas fabric, modifying or partially expanding them, combining them with hand knitting, and adding contemporary sensations, thus providing confirmations of the possibility of popularizing classic patterns in more practical manners.

This study aimed to identify the effects of shopping environmental stimuli on Chinese consumers’ functional and symbolic value perceptions toward luxury lifestyle fashion stores. An enhanced S-O-R (stimulus-organism-response) model was used as the theoretical foundation. Significant relationships were identified between shopping environmental stimuli and the perceived values.

Despite the plethora of articles and research in marketing and retailing literatures focused on enhancing customer loyalty, the topic of how to best allocate resources to various loyalty-building efforts has always attracted interest from both academics and practitioners (Kamran-Disfani, et al., 2017). Much research has examined that satisfaction is a strong relative factor of loyalty. However, Kumar, et al. (2012) and Kamran-Disfani, et al. (2017) stressed that the satisfaction-loyalty link could depend on various moderators and mediators. And they pointed out the difference between two types of loyalty—attitudinal and behavioral, and the mediating effect of attitudinal loyalty within the satisfaction-behavioral loyalty link. Thus, there is a need for more studies empirically investigating the satisfaction-loyalty link and how satisfaction effects loyalty in different contexts. On the other hand, many companies have recently been building a greater variety of store formats and attempting to provide a superior shopping experience through their stores in order to increase the possibility of customer revisitation and customer loyalty. Also, consumers not only switch to different retailers in the same product categories but also change to different store formats for the same product purchasing (Anand and Sinha, 2009). The reasons can be considered as customers’ attitudes toward stores and preference of store atmosphere and environment (Wakefield and Baker, 1998). However, few research pays attention to the issue of how, and to what extent, the different store formats have on impacting customer satisfaction and loyalty building. This is especially true of retailers having entered a new overseas market, and how its loyalty building is effected by its store format choice during its developing stages. This study adopts a conceptual model from Kamran-Disfani, et al. (2017) and aims to examine the satisfaction-loyalty link and test if attitudinal loyalty could be a mediator between satisfaction and behavioral loyalty. And if so, do store formats matter to the satisfaction-loyalty link. In short, we develop hypotheses of how store atmosphere, customer satisfaction, attitudinal loyalty, behavioral loyalty are related, and how store format moderates these relationships. In order to improve the understanding of the satisfaction-loyalty link in the context of retail internationalization, we survey a Japanese fashion company — Nice Claup who segmented the Chinese market by operating multiple retail stores, and each retail store plays a discrete role of cultivating customer loyalty. In our analysis, we compare two store formats of Nice Claup, which are the single brand specialty store and the multi-brand store (defined as ―house brand store‖ in this paper). House brand stores aim to offer novel shopping experiences by gathering several Japanese fashion brands into one large store, with each brand having their own detached areas for keeping each brand’s identity separate and recognizable, but are connected to each other by an integrated store design. Both of these two types of stores are named ―Nice Claup‖, and operated by the same retailer. We choose a 388-customer survey data as our sample. All of these customers have purchased clothes at Nice Claup’s stores over 5 times per year and have been given special member’s card by Nice Claup in Shanghai, China. This 388-customer data obtains 180 consumers who always purchase at house brand stores, and 208 consumers who always purchase at single-brand specialty stores. Hypotheses are tested using an ordinary least squares regression model with a cross-store format comparative analysis. The results suggest that while attitudinal loyalty positively and directly influences behavioral loyalty, satisfaction indirectly drives behavioral loyalty through the mediating effects of attitudinal loyalty. This implies that we should focus on the process of building loyalty and there might be a potential stage before gaining customers’ behavioral loyalty. We also find that there are some important differences between the two store formats, i.e., (1) the effect of store atmosphere (ambience cue, design cue, social cue (Kumar and Kim, 2014)) on satisfaction; (2) the moderating effect of store formats on the relationship between attitudinal loyalty and behavioral loyalty. The findings explore different perception of the two types of stores and influencing factor on building loyalty from an emerging market perspective. By extension, it also shows an application of implementing retail internationalization with adopting multiple store formats on different developing stages, and customer loyalty can be enhanced by offering store novelty in the Chinese market.

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.

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.

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women’s wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

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.