The purpose of this study is to determine the concepts of heterotopic image and fashion space, and the characteristics of fashion space and images from the perspective of fashion brands and users. This study examines the evolution of fashion space and consumers with it, based on Foucault’s theory of heterotopia, which refers to spaces that blend contradictory features not typically found within a single physical structure. This is accomplished by employing a single case study of Ader Error’s Ader Space, a Seoul-based brand known for its unique approach to presenting and communicating fashion. Based on an analysis of Instagram posts of Ader Error along with the hashtag searches “aderspace” and “adererror”, this study categorizes heterotopia from the perspective of fashion brands into three properties: fashion space as a medium for selling fashion products; fashion space as getaway to hybrid fashion practices; and fashion space as an illusionary place to experience fashion. From the user perspective, the heterotopic image of Ader Space portrayed on Instagram is characterized by the image of fashion products in an extraordinary fashion space, the image of a fashion space beyond space and time, and the image of exposing the hidden and the illusioncompensation of fashion space. This study contributes to a heightened understanding of the evolutionary concept of the fashion space.

Digital technologies that travel between the real and virtual worlds are rapidly adopted by many fashion brands for building virtual fashion spaces. This study aims to investigate the consumer experience of the components of the virtual fashion show and their effect on virtual fashion space, perceived benefits, perceived risk, and behavioral intention in the immersive fashion virtual space. The stimulus for this study was selected as the Prada virtual reality (VR) fashion show which is one of the most active in the VR field. The influence of perceived virtual fashion space and the moderating effect of VR sickness and fashion innovativeness are discussed. This study provides implications about consumer perception and behavior using VR in the context of virtual fashion space for researchers and practitioners.

The current paper examines how parasocial interaction (PSI), imaginary and illusory relationships with fashion designers, enhances luxury consumers’ social media contributions. SEM results (Mplus 7.4) from an online survey with visual stimuli (n = 555) show that PSI with fashion designers increases opinion leadership and content production. Specifically, opinion leadership mediates the impact of PSI on user-generated content (UGC) creation, but not electronic word-of-mouth (eWOM). Luxury consumers only produce UGC when their leadership abilities are emboldened through PSI with fashion designers. Overall, these findings contribute to a growing body of digital luxury studies while helping luxury firms to counterbalance their legacies and brand awareness through social media.

Over the last five years the notion of ‘third space’ or ‘place’ has started to become referred to within a retail context (Nobbs & Manlow 2014). Third space is defined by Mikunda (2004: 11) as “somewhere which is not work or home but a comfortable space to browse, relax and meet people, even enjoy a meal”. In the fashion sector there is an increasing trend for retail and culture/leisure activities to be housed in the same space as means of drawing customers into the store and tempting them to stay for longer. However there is a lack of both empirical and conceptual research on this emergent concept (Oldenberg1999). The aim of this study is to investigate the notion of third space in practice from both a brand and consumer perspective with respect to identifying the motives and methods for its adoption. Experiences form an integral part of third space as they activate psychological experience mechanisms (Mikunda 2006). This study will consider the motivations for stakeholders to invest in third space environments using the chosen case study fashion brand Urban Outfitters. This retailer has a history of creating unconventional store formats which blend music, lifestyle and fashion products under one roof. In 2008 they created a development called Space fifteen twenty in Los Angeles which was a curated mix of ownbrand and lifestyle brands and featured food, art, vintage and programme of events aimed at the hipster community. In 2014 they opened a store called Space 98 in Williamsburg in Brooklyn which used the same formula, a carefully selected space with an art gallery, revolving pop up stores and a bar and restaurant (WGSN 2014). The research methodology utilises a qualitative approach in the form of store observations, in-depth interviews with store and head office staff, the architect and also snapshot exit interviews with patrons of the store. The results are audio recorded and analysed using thematic content analysis. The outcome of this exploratory technique will provide a 360 degree perspective of the concept in action. The results of the study will be useful for academics and retail marketing practitioners interested in the impact of store formats on consumer behaviour and brand identity.

21st century post digital society orients co-existence, fusion, and blurring boundary than conflict, differentiation, and boundary, and makes a try liberal combination of various different objects. Furthermore, radical development of science and digital equipments offer technical possibility that could combine various fields. Hence, many different departments demolish their boundary, and combine for development of multi-functional and complex shape’s products. For job-nomads, fashion attempts to combine with architecture, furniture, daily necessities, and digital equipments spontaneously. This paper aims at consideration about the blurring phenomena expressed in complex fashion space of 21st century throughout empirical fashion photographs analysis, which show combination among fashion and various different fields. Blurring boundary phenomena of complex fashion space are classified with 4 parts as follows as: 1) furniturizing, 2) wearable dwelling, 3) lumiduct, 4) becoming fashion. Each parts are examined 8 aesthetical characteristics such as movement and lightness, hyper-link and openness, immateriality and inter-activeness, and diversity and ambiguity. 21st century fashion has changed more simple and light, and creates new form throughout combination with many other fields, and enlarges its function and sphere. I think this paper would help certificating practical use of fashion space as multiple and complex space, and makes contribution to forecast about fashion development of the future and offer inspiration about creative and innovative fashion design.

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.