Digitalization and the emergence of online video platforms changed the way people communicate and made new marketing opportunities. As mobile short-form video has unique characteristics, more people tend to consume and produce diverse content in the digital environment. The purpose of this study aims to better understand the influence of short-form videos from a fashion marketing standpoint and delineate the driving factors through story types. Specifically, by adopting common traits of short-form video content and story types based on Greimas’ narrative theory, this study explores customers’ intention toward fashion purchases and electronic word of mouth. In this context, this paper contributes to activating short-form video content as a tool to promote fashion brands and products but also opening up the possibility to further study short-form videos.

In order to communicate brand concepts and values to the young generations, many brands are highly active on social media platforms such as Twitter, Facebook, and Instagram. Brand-Generated Content has already become the most common marketing strategy for fashion brands and plays a significant role in influencing consumers’ purchase intention. With increased competition on social media platforms, companies need to understand which posting features can bring in more consumer engagements such as number of likes and comments on social media platforms. In this paper, we develop (1) a model to predict the number of likes and (2) a methodology to detect anomaly of posts that have unusually high percentage of negative user comments based on Instagram design variables, including semantic text meanings, facial expressions, color scheme and background of photos, and post timing, among others. We collected a data set of brand-generated Instagram posts from ten fashion brands. The data covers the image, text, and user comments posted between 2019 and 2020. Image features were extracted using Convolutional Neural Network, and text topics were generated through Latent Dirichlet Allocation. Our results will help managers design Instagram posts to increase consumer engagement and to reduce negative consumer reactions.

Consumer brand engagement has recently drawn attention for researches because of its importance in predicting brand loyalty. Meanwhile, social media is used as digital marketing tools for marketers to attract and engage younger consumers. This study aims to answer the question whether social marketing efforts by fashion brands on major social media platforms have influence on consumer brand engagement in the context of Vietnamese fashion brands. Social marketing efforts include five dimensions of entertainment, interaction, trendiness, customization and word-of-mouth. Although social marketing efforts has been examined in relationship with other important marketing concepts such as brand equity and customer equity (Godey et al., 2016; Kim and Ko, 2012), few studies have investigated its effect on consumer brand engagement, especially in fashion brands. Besides, Vietnam as an emerging market is witnessing considerable changes that social media brings to every field including fashion markets. It is noticeable that more and more fashion brands in Vietnam are trying to expand and advance their marketing strategies on social media to engage consumers. In this study, a self-administered online survey was delivered to Vietnamese consumers, which included 281 valid responses who followed Vietnamese fashion brands on Facebook or Instagram. The empirical results show that social media efforts engage consumers differently on brand engagement dimensions. The key finding indicates that entertainment and word-of-mouth are positively related to brand engagement in affective, cognitive and behavioral dimensions. Interaction is positively related to affective and behavioral brand engagements. Trendiness is positively related to behavioral brand engagement. Finally, customization is positively related to cognitive brand engagement.

The pataphysics implemented by digital technology differs from the form of objects in the real world and is used throughout the cultural industry. This study aims to analyze the expression method of pataphysics as applied to modern fashion and derive its impact on the fashion industry. The research analyzes fashion images, shows, films, displays, and e-commerce, since 2016, when pataphysics began to be used in the fashion domain. Pataphysics, created by Alfred Zaire, appeared as an overlapping phenomenon that reflects physical phenomena in the virtual world. The expression method of pataphysics applied to modern fashion was divided into an augmented reality method based on immersion and interaction, a virtual platform-oriented metaverse, and a virtual model expressing a processed self. The influence of pataphysics applied to modern fashion is as follows. In the field of design, pataphysics affects the development of contemplative designs for innovation and creativity. Second, digital technology can expand the role of fashion at the intersection of art and fashion that takes a novel perspective through pataphysics. Third, e-commerce positively affects efficient production and consumption through virtual and economic models. In conclusion, this study’s findings are expected to play a positive role in promoting creativity and innovation by introducing new perspectives and ideas into modern fashion through pataphysics.

During the COVID-19 pandemic, the obligatory wearing of masks has led to increased consumer demand and the diversification of mask design. Accordingly, it is necessary to understand the inner meaning and characteristics of masks in the pandemic situation. Therefore, the purpose of this research is to analyze the characteristics of fashionable masks and their new cultural meaning under the COVID-19 pandemic. This research is based on literature review and empirical research. Drawing on an investigation of the historical evolution of masks and their transition under the pandemic (exhibiting differences in mask culture among countries and regions), this study analyzed 54 distinctive fashion masks designed by fashion brands and influencers that appeared from January 2020 to January 2021. The characteristics of fashion masks identified under the influence of the pandemic are as follows: Message delivery on political issues and human rights; psychological defense and expression of individuality; and conspicuous display via luxurious materials and luxury brand logos; moreover, the design of the mask uses the same material, color, pattern, decoration, and other methods as clothing to achieve the overall style. Over the course of the pandemic (and even in post-pandemic lifestyle), fashion masks are becoming more diversified conveying new social and cultural meanings.

Fashion as a field of cultural studies is a very complex field that is very interesting to discuss, especially in Indonesia as the very rich country in cultures and past traditions. This research will discuss the development of fashion in Bali, one area that is opulent in its cultures. Based on the research conducted by today’s fashion development, Bali is still strongly influenced by factors inherited from traditional values that exist in the Balinese culture. This research is conducted by applying the qualitative method with the ethnography approach to unravel any factor in Bali so that it becomes the foundation and triggers the rapid development of fashion by still maintaining the values of the tradition. Considering that the values of tradition as a whole have a good impact on the preservation of the natural balance and various factors that exist in society, whether these factors still exist in other regions of Indonesia and they are possible to be developed in various regions of Indonesia. So hopefully the development of fashion in Indonesia as a whole can maintain the local content that characterizes the Indonesian Nation and have a positive impact on the balance of nature and also to the community in Indonesia and the world culture.

Introduction India consistently has been the largest movie producer worldwide for the last few years, releasing more than a thousand films each year selling 2.2 billion movie tickets in 2016 (Film Industry in India, n.d.). In a similar vein, the designer wear industry fueled with the growth of the organized retail in India is poised to reach about 1.7 per cent of the global designer wear industry by 2020 (Designer Wear, 2012). As Indian consumers are increasingly adopting a wardrobe more varied than the traditional Indian dress including western apparel styles, the Indian clothing consumer is emerging as a research demographic, with definition of the Indian clothing consumer still in early research stages. Research indicates that fashion industries strengthen a nation’s economy, and that movies and televisions are two of the important marketing channels for it. Thus, with the rapidly growing and increasingly more affluent Indian middle-class ready to spend money, it is important to investigate the relationship between viewing Bollywood movies and their impact on fashion consumption. There is minimal research on this topic and the purpose of this study is to address the gap in literature. Rationale of the Study Fashion is a business and the specifics don't matter much, anywhere in the world anymore. Historically, credit for new fashion was given to the fashion designer, but in more recent years’ celebrities dressed in designer wear have become a medium to reach audiences because of their huge fan following. Bollywood is an influential medium, impacting everything from haute couture fashion to music. Slowly, but surely, clothes worn by Bollywood have clothes become signed artifacts, and have Bollywood styles and fashions become themselves separately marketable (Rao, 2010). Bollywood’s influence on the fashion industry as well as consumers, it is important to gain a better understanding as to how to capitalize on the “media influences” more holistically. Gender, especially in Indian context, is an important construct with respect to men and women as they differ with respect to their involvement with fashion clothing and even more with regard to their involvement with the purchase of fashion clothing (Handa & Khare, 2013). This exploratory study examined the influence of movie and television engagement on fashion involvement and eventual purchase behavior. The study utilized MIMIC model and analyzed group difference in gender. Theoretical Framework Social cognitive theory as well as the theory of symbolic interaction forms the conceptual backbone of this current study. The theory examines psychosocial components which motivate human thought and action and has been used to examine gender differentiation as well as media Influence (Bandura, 2001). According to Solomon (1983), the theory of symbolic interaction has three facets: a consumer’s perception based on the response of others, the influence on a consumers’ behavior, and a consumer’s sense of self based on the actions and responses of others to various stimuli. The symbolism in the fashion products is the primary influence for their purchase and individuals attribute meaning to these products based on the social environment in which they are presented. For this study an adapted model has been created based on two theories to examine: (1) influence of TV and movie engagement on fashion involvement; (2) effect of fashion involvement on purchase intention related to clothing as well as purchase intention- accessories; (3) impact of purchase intention – clothing on purchase intention- accessories. Methodology Data was collected via convenience sample from students at a university in a major city in India resulting in 1058 participants. The survey instrument was created using items from previous studies.: Data were analyzed using Statistical Package for the Social Sciences (SPSS) and LISREL. Frequency statistics were obtained for the demographic variables. Confirmatory factor analysis (CFA) was used to evaluate measurement properties, including reliability and validity of the measures. To test hypotheses and explore the causal relationships, a structural equation model (SEM) was used. The current analysis utilized “multi-group” analysis, to compare parameters between distinctive groups (i.e. Male and Female). Results and Conclusions An exploratory factor analysis using principal component with varimax rotation and a minimum eigen value of one was used to identify the latent variables in the model: Movie Engagement (α = 0.82); TV Engagement (α = 0.81); Fashion Involvement (α = 0.81); Purchase Intention Overall (α = .87); Purchase Intention – Accessories (α = 0.88). The main model was initially tested using measurement and structural model in SEM and then multi-group analysis using MIMIC was used to analyze group differences. The CFA supported the exploratory factor analysis, the fit of the measurement model was acceptable (χ2 = 525.21, CFI = 0.98, RMSEA = 0.053, and NNFI = 0.98). Therefore, the measurement model was retained without any modifications. Based on the parameter estimate t value which stated that value greater than 2.00 is considered an indicator of statistical significance, the hypothesis of influence of TV engagement on fashion involvement was not supported for Male respondents. Furthermore, fashion involvement did not influence purchase intention accessories for Females, conversely, it was supported for Males however, the relationship was negative. All the other hypotheses were supported for both the groups. The analysis of gender using the MIMIC model provides valuable information for the Indian fashion industry to understand target consumers which will help them to design effective marketing strategies. Indian men and women consume media differently and it affects their fashion involvement and eventual purchase behavior. Movies and TV influence fashion involvement for both the genders differently with TV only influencing women. This finding indicate that more Indian women watch more television (Singh, n.d.) and hence are more involved with programming available on TV. Movie engagement influence fashion involvement providing support to the previous research as well as media report. It is essential for Indian brands as well as international brands to engage in brand placements and celebrity endorsements to connect with the consumer base. Fashion involvement influenced intention to purchase clothing for both the genders but did not influence purchase of accessories for the female consumer. This could be attributed to the fact that women shop “looks” i.e., the entire outfit worn including make-up and accessories, whereas men generally shop for a “product”. It is suggested that retailers pay attention to this crucial difference between the genders while shopping and accordingly ensure that due diligence is made to visual merchandising strategies with the stores as well as online. Additionally, as the influence of involvement on purchase intention – accessories is negative, it can be inferred that the highly fashionable male consumer may be looking to buy clothing rather than accessories to make a “fashion statement”.

E-commerce is a global phenomenon that reshapes retailing and the appropriate multinational corporations. The goal of this study is to get a better understanding of the relationship between online customer reviews (OCRs), sales and sales after returns in the cross-national and cross-cultural context. We discuss our hypotheses by empirically analyzing a large and unique data set from a European fashion e-commerce company. This study links a wide range of transaction data (0.8 billion page clicks, 17 thousand different products, 499 brands, 50 product categories, 22 million sold and 11 million returned items) from six different countries (Austria, France, Germany, Italy, Netherlands, Poland) with a large set of OCRs (0.7 million). Our results show that positive OCRs can lead to higher sales and sales after returns with considerable cross-country differences. We argue that differences in culture provide a substantial explanation for these effects by using Hofstede's cultural framework.

Purpose: While many consumers claim to include ethical considerations in their consumption behavior, only a small fraction adheres to these self-made standards. For example, although two thirds of consumers polled by Nielsen in 2015 in thirteen countries stated to be willing to pay more for sustainable brands only ten percent actually purchased this type of product. Even if responsibly produced products still only account for a small share of the market they represent a pervasive marketing phenomenon that merits further scientific research. The so-called attitude-behavior-gap has received a considerable amount of attention not only in the business context, but also in scientific marketing research. Nevertheless, previous studies commonly discussed responsible consumption from an information-processing perspective concentrating on the rational and goal-directed side of responsible consumption. What is still largely missing, though, is the consideration of emotions as drivers or influencing factors for consumer responsibility, even though the few existing studies suggest a positive influence. This holds especially true for the self-conscious emotions of guilt and pride. Furthermore, the few studies at hand generally focus on non-durable goods like tea, coffee or juice and leave a research gap with regard to durable products like fashion items. Thus, the aim of this study is to further investigate the influence of self-conscious emotions on responsible consumption in the context of the fashion industry. Specifically, the influence of the two emotions guilt and pride as well as the influence of social visibility on the consumer’s decision-making and purchasing process shall be investigated. Design/methodology/approach: A mixed method approach containing qualitative and quantitative methods is applied. While in-depth interviews and focus groups with fashion consumers shed light on potential influencing factors and outcomes of self-conscious emotions, a scenario-based experiment further validates these results on influence of guilt and pride in the context of responsible consumption. The experiment follows a 2 (negative vs. positive responsibility outcome) x 2 (social vs. no social visibility) design and is conducted via online questionnaires. Findings: Experiences of self-conscious emotions provide feedback on past behavior that ultimately leads to a revised behavior linked to consumer responsibility in the future. Specifically, pride (guilt) can potentially lead to increased (diminished) word-of-mouth and purchase intentions. Research limitations/implications: Limitations lie in the type of research design as a scenario-based experiment was chosen for the quantitative study. Future research should investigate the topic at hand with a field study, ideally with a suitable partner from the industry. Another limitation lies in the examination of only one industry that strongly differs from other industries. Further investigations should compare the self-conscious emotions’ impacts on different types of industries. Practical implications: The current research provides suggestions on the adequate use of communications to promote sustainable fashion brands and to develop according campaigns that elicit emotional reactions from consumers. Furthermore, although guilt and pride refer to past behavior, they can nevertheless be used by management to influence future consumer actions, e.g. choice of responsibly produced garments as opposed to conventional ones. Incentives for successful word-of-mouth of sustainable fashion brands could strengthen this effect. Additionally, the final results deliver insights on whether social visibility should be increased (e.g. through offerings in offline channels) or rather reduced (e.g. through promotions in online channels). Originality/value: This study closes a research gap by investigating consumer responsibility not from an information-processing, but an emotion-based perspective. It furthermore complements research on emotions in the context of responsible consumption by investigating durable products, namely fashion items, that differ strongly from previously examined product groups like tea or coffee.

Urban regeneration has emerged as a new paradigm of urban development today. In this situation, awareness has increased that urban regeneration should be pursued in connection with culture and art (Evans, 2009). Urban transformation has continued through internal restructuring in an expanded or reduced scale by economic and social changes (Garcia, 2004). Initially, diverse public/private parties initiated urban image improvement and strong brand creation through leading developmental strategies in order to attract floating enterprises, residents and tourists. At this time, states built culture-centered urban regeneration strategies in relation to urban development and regeneration such as large-scale culture and art facility establishment or large event hosting (Couch, 1990). However, in the modern society, with the elevated awareness on environment, the focus has shifted from development towards service industry and tourist industry in urban. In this sense, cultural policies are deemed to be responsible for the expanded idea of urban development considering diverse aspects from physical and economic aspects, to social significance, sustainability and to culture and art (Bianchini & Parkinson, 1993; Garcia, 2004).

The purpose of this study is to assess whether the emotional leadership of the CEO of a fashion company has a significant influence on corporate performance. In this study, a survey was conducten on employees of fashion companies from August 1 to 30, 2015, and 350 copies of questionnaires were collected and used for analysis. Factor analysis, reliability analysis, and regression analysis were employed to analyze the data using SPSS software (ver. 21.0). According to the study results, if a fashion company CEO has higher emotional leadership, it leads to an increase in the job satisfaction and performance of the staff members, and an improvement in new product performance thanks to more investment and development and an expanded R&D staff. Additionally, the higher emotional leadership of the CEO contributes to an increase in operating profits, sales, and market share. Therefore, the importance of organizational culture was confirmed by its regulation effect on the emotional leadership and management performance of a fashion company. According to the results of this study, the emotional leadership of a CEO plays an important role in improving the performance of a fashion company, and future studies are needed to identify how to enhance the corporate performance of a fashion company from various perspectives.

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.

Fast fashion brand marketers should develop marketing strategies that effectively satisfy the values consumers seek when purchasing fast fashion brands. This study aimed to identify the consumption value factors of fast fashion brands and to reveal the value factors that influence attitudes toward purchasing fast fashion brands. Data were gathered by surveying university students in the Seoul metropolitan area using convenience sampling. Three hundred and five questionnaires were used in the statistical analysis, which consisted of exploratory factor analysis using SPSS and confirmatory factor analysis and path analysis using AMOS. The factor analysis revealed the following six value factors: Emotional value, social value, price/value for money, durability value, eco-value, and consistency value. The fit statistic for the six-factor model was quite acceptable. Two of the six value factors, emotional value and price/value for money, positively influenced attitudes toward purchasing fast fashion brands. The overall fits of the revealed model suggested that the model fit the data well. The results suggested that fast fashion marketers need to understand the value factors that motivate consumers to purchase fast fashion brands. In addition, marketers should focus their efforts on satisfying emotional value and price/value for money in order to establish their brands in the increasingly competitive fast fashion industry.

This study analyzed consumers’ awareness, preference levels, and effect expectations in relation to fashion art marketing according to the types of such marketing (collaboration between fashion and art in fashion products, called product collaboration; sponsorship for art foundation; artist sponsorship; collaboration for the design of a space/store/display; ad/promotional film collaboration). The study also investigated the influence of consumers’ attitudes toward fashion art marketing with respect to purchase intention. The study was implemented through a descriptive survey method. The sample consisted of 342 men and women between the ages of 20 and 45. The data were analyzed by factor analysis, one-way ANOVA, and multiple regression analysis. The results revealed that there are significant differences in consumers’ awareness and effect expectations in relation to fashion art marketing according to the types of fashion art marketing activities. While no differences were found in preference levels according to the type of fashion art marketing, all the types of art marketing showed overall high levels of preference. The collaboration between fashion and art in fashion products, which had the highest awareness, also showed the highest expected effect. In all the types of fashion art marketing, consumers’ attitudes had a significant influence on purchase intention. In cases of sponsorship for an art foundation, artist sponsorship, collaboration for the design of a space/store/display, and ad/promotional films, consumers’ effect expectations had the most significant influence on purchase intention, followed by preference and awareness level. These results could be used to provide appropriate proposals to fashion brands when they plan to set up an art marketing strategy.