As interest in the sustainable fashion industry continues to increase along with climate issues, it is necessary to identify research trends in sustainable fashion and seek new development directions. Therefore, this study aims to analyze research trends on sustainable fashion. For this purpose, related papers were collected from the KCI (Korean Citation Index) and Scopus, and 340 articles were used for the study. The collected data went through data transformation, data preprocessing, topic modeling analysis, core topic derivation, and visualization through a Python algorithm. A total of eight topics were obtained from the comprehensive analysis: consumer clothing consumption behavior and environment, upcycle product development, product types by environmental approach, ESG business activities, materials and material development, process-based approach, lifestyle and consumer experience, and brand strategy. Topics were related to consumption, production, and education of sustainable fashion, respectively. KCI analysis results and Scopus analysis results derived eight topics but showed differences from the comprehensive analysis results. This study provides primary data for exploring various themes of sustainable fashion. It is significant in that the data were analyzed based on probability using a research method that excluded the subjective value of the researcher. It is recommended that follow-up studies be conducted to examine social trends.

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.

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.

ICT in the IOT era is the core basis of modern society. This study investigated and analyzed the recent commercialization trends of smart fashion products internationally and domestically, to utilize them as the basis of data for developing user-friendly smart fashion products that can meet the needs of consumers. Keyword research using the most representative search engines, Google and Naver was conducted for searching for various wearable items commercialized actively since 2010. The final 78 products were classified by the physical area, and the key features and benefits were analyzed. Smart fashion products were classified as four physical types for the head and face, torso, arms and hands, and ankles and feet. Smart fashion products for each body part were developed in various ways, such as hats, glasses, lenses, virtual screens, earphones, headsets, clothing, watches, wrist bands, gloves, rings, wallets, bags, anklets, shoes, socks, and insoles. The main features were music playback, bluetooth, a camera based on NFC, virtual effects, health and safety protection through measuring heartbeat and momentum, and social network sharing of all kinds of information, based on inter-working with a smartphone. These functions represent the physical, social, and emotional interactions among users and their surroundings, as well as the users, themselves. The research results are expected to be used in future studies on planning user-friendly and marketable products through in-depth analysis of the design characteristics of smart fashion products as well as consumer responses.

Contemporary fashion companies have been planning marketing strategies that can promote brands and products more effectively for satisfying consumers’ increasingly diversified needs. For this reason, retail spaces have continued to evolve and the modern concept of pop-up stores appeared through this process. Therefore, the object of this study was to research domestic pop-up fashion store cases by collecting article data. These data are from Internet fashion-specialty sites and analyze the types and characteristics of pop-up fashion stores by providing basic information that will be useful in the pop-up fashion stores of companies when they establish their marketing strategies. This study utilized the content analysis method and derived the results by using SPSS Statistics. As a result of this study, the type of “pop-up fashion stores opening in distribution enterprises” comprised the highest percentage of the whole store types and the pop-up fashion stores’ management purposes were focused on product introduction, promotion, and market testing. As time passed, not only did pop-up fashion stores' growth rate increased, but also the types of pop-up fashion stores have become more diverse. In other words, contemporary fashion companies are utilizing more pop-up fashion stores as a marketing strategy than before. However, due to the short history of domestic pop-up fashion stores, the variety of research is still insufficient, so more extensive research on pop-up fashion stores is required.

With a staggering 35% of the total French population using Facebook representing 23.4 Million users (1), of which 72% using on their mobile phones or tablets (2), and with at least half of them daily (3), it is no brainer to understand the increasingly important role of social media in the daily life of French consumers. It is foreseeable that French consumers are influenced by, and can influence other consumers, on their fashion purchase decisions. Using published sources of information; this paper aims to highlight the four main trends of social media that have an impact on fashion marketing in France. The first trend is about instant messaging from consumers to consumers. It is how consumers frequently and easily talk one to another about brands, products, opinions, likes and dislikes, etc. hence influencing any potential purchase decision of self or others. The second trend is about interactions between consumers and brands via social media such as Facebook or Twitter. Brands can communicate directly to consumers and consumers directly to brands, hence it is very time efficient for brands to know what consumers think, like or dislike about their products or marketing communications. For consumers, it is also satisfying to be able to voice one’s opinion and may contribute to the future success, or failure, of new products. The third trend is about brands collaborating with online communities to co-create new products. In this instant, brands will let online consumers express their desires, for example through mood boards, and then create a few samples of new products based on those desires. Online consumers can then vote for their preferred ones that will later be produced and sold online to the consumers. Such example can be found from a partnership between “La Boutonniere” website (which collects information from online communities) and “Anne Studio” (a woman fashion brand) (4). This technique can ensure a higher successful rate of new product launches. The fourth trend is about disguised advertising campaigns on social media platforms such as Instagram, Twitter or YouTube. These platforms are offering to conceive and design online marketing communication campaigns for brands that fit with their target consumers’ environments on those same platforms. The aim is to communicate to the right audience without being intrusive and to blend in. These campaigns often mention the words “sponsored by…” to reveal their sources. In summary, these four social media trends illustrate the increasing important of social media in brand communications and brand building, not only from brand-to-consumer-to-brand, but also from consumer-to-consumer-to-consumer.

This study proposes the use of fashion as a tool of psychotherapy for individuals feeling social and psychological pressure due to society’s emphasis on appearances. The concept of fashion therapy was re-established, and theories (cognitive behavioral therapy, person-centered therapy, solution-focused brief therapy) founded on art therapy were introduced. Based on past research, this study developed a process for fashion therapy.

We are in the midst of a digital revolution, in which real-time technologies have become disruptive forces shaping the fashion industry, necessitating for a revision and re-conceptualizing of extant fashion theories about diffusion of innovations and dissemination of fashion trends.

The areas of fashion research and fashion design aesthetics & fashion history have been studied under a common research heading as a Humanities subject in the UK and the USA, and as Clothing and Textiles Studies in Korea. The purpose of this paper was to analyze the 2004~2013 research tendencies in terms of reporting methods and contents from 181 world-renowned Fashion Theory research papers within the UK and USA fashion research corpus, and 359 Korean research papers from The Research Journal of Costume Culture related to fashion design aesthetics & costume history field. The subject areas, periods, methodologies, and differences in the topics of the studies were examined. The results of the research are as follows. Regarding the research authorship and length of the research papers, in Fashion Theory most papers were written by a single English-speaking or other foreign language-speaking author and were on average longer than 21 pages, while in The Research Journal of Costume Culture, many papers were jointly written by two Korean researchers and were between 11 and 20 pages. Regarding the content, Fashion Theory was connected to relatively wide and diverse periodical and regional boundaries including the body, clothing, the fashion media, and the overall fashion system, while The Research Journal of Costume Culture revolved around the body and clothing, textiles, the fashion media, and costumes. In addition, since the late 20th century, the studies appeared to be related to the current Western world overall or to the country of the author. Regarding the research methodology, Fashion Theory used diverse research subjects and methodologies, and research was conducted on topics relating to fashion culture or fashion aesthetics. On the other hand, The Research Journal of Costume Culture featured relatively more dynamic studies aimed at suggesting developments or solutions to problems. It was found that a large share of that research focused on detailed style analyses and suggestions for aspects such as design elements and design developments. Such differences are considered to be caused by the inherent differences between the academic departments for the Humanities, and the Human Ecology. The above research results are expected to provide fundamental information in setting a direction for future research to assist the globalization of domestic research.

This study analyzed the design elements and fashion images of women's knitwear in collections of Paris, Milan, London and New York between 2003 and 2008, and examined knitwear trends in an effort to verify whether knitwear trends are repeated in certain cycles, whether they show complicated patterns in cycles and yet occur in quasi cycles, or whether they occur non-periodically in complicated forms of chaotic cycles. Trend cycle analysis results are deemed to identify the time series attribute of knit fashions. It also sought to categorize the attribute of various factors influencing knitwear trends with a view to determining relevancy between design elements, and to present the direction of predicting knitwear fashion trends and the progression of short-term knitwear trends. This study reached the following conclusion. According to design elements or fashion images, knitwear fashion trends occur in cycles, quasi cycles, non-periodical cycles. These cyclic characteristics can be used as scientific data for planning knitwear products. The study confirmed close relevancy between fashion images and fashion elements. It identified close relevancy between designs with similar fashion elements and images through coordinates by year and season, and it is possible to make short-term prediction of trend direction through the flow of coordinates. Time series data were insufficient, thereby making it difficult to perfectly verify chaos indices and giving limitations to this study. A study with more time series data will produce a more effective method of predicting and using knitwear fashion trends.

The digital era in the 21st century is globalized and is collapsed boundary among countries, thereby being able to be said to be characterized most largely by proceeding with being a form like a federation and EU. A change into digital era brought about a change in all the aspects of human behavior and culture, not a change simply in temporal significance and technological significance. In recent days, all the services came to be possibly used the integrated device with the same network owing to innovation of communication technology, which is represented by digital, network, and internet. Now, the broadcasting industry, computer industry, and communication industry are exceeding the peculiar sphere by being mutually merged. Each of industrial sector centering on internet is showing the phenomenon of being united. The hybrid trend, which was formed by phenomenon in the complex digital media society, tended to be indicated in fashion and makeup design. As the digital media era was generated, the hybrid trend induced a change into society in open and horizontal idea. It came to be known that there is independent trend in each field even while organically working in the middle of the whole frame that fashion and makeup express a human being's external beauty. This implies that makeup is not what is always influenced by fashion as an accessory in fashion and a supplementary role, but what can show its contrary phenomenon. This study examined characteristics, which are shown in fashion and makeup due to hybrid influence with greeting the digital media era. This study was carried out in order to be conducive to objective data available for giving help to the future direction and marketing data in product of the relevant businesses, through the results of this study.