Journal articles on the topic 'Branding of the fashion industry'

Aim of the article. The purpose of the article is to reveal the system of brand management implementation in fashion companies and to develop a plan to create a brand management department in such companies. Analyses results. The style and basic principles of brand management should be based on the company's activities and technologies that should be used in brand management and communication strategy with the target audience. Based on this information, we have a functional structure for the implementation of brand management in the company, as well as areas of responsibility of the company's employees working in this area. Brand management is a comprehensive regular management of building and improving the brand, which is carried out at all stages of its development. To effectively manage a company's brand, it is necessary to determine the core value of a particular brand and broadcast it to the target audience. If a brand is a set of values and attributes, then branding is a specific step that a company takes to express its individuality. Branding is how a company manages the perception of a brand by consumers. Brand management can be considered in three directions: a) scientific basis - a system of scientific knowledge that includes the theoretical basis and methodological practice of the world's leading companies in the field of brand management and branding; b) corporate brand management - reflects the corporate vision of the company's mission, its culture and management style. An important area of corporate brand management is the development of corporate identification programs, which achieve the company's recognition in the market, provides a high level of consumer awareness of brands and develops customer loyalty; c) the process of brand management (branding) - aimed at developing the appropriate personality. Branding includes several basic areas, namely: organizational component (formation of a team, unit and consolidation of functions under the relevant management); market research; development of the brand concept; lanning of marketing programs for brand development; organization and marketing activities management. Based on the specifics of the scope of activities of companies engaged in fashion, and the functionality needed to implement brand management in this type of enterprise, recommendations were developed for the structure of the brand management department in companies and areas of responsibility of employees, their tasks and responsibilities. The flows and sources of information, the process of its processing and the mechanisms of interaction of responsible persons within the department responsible for the brand management process are considered. Conclusions and directions for further research. Drawing conclusions, we can say the following. Creating a strong brand and implementing brand management in the company is now a necessity for any company. And in order for brand management and its promotion on the market to be successful, the company must create an appropriate organizational structure based on the specific goals of the company and the tasks set before the brand. The formation of the structure of the brand management department of the organization directly depends on the scope of the company, its scale, the characteristics of the target audience of the brand, the need for physical outlets or the company's focus on work in e-commerce. The article presents developments on the typical structuring of the brand management department at enterprises operating in the fashion industry. Depending on the factors listed above, the structure can be adapted to the needs of a company in this area. It should also be noted that with the development of technology and the emergence of new channels of communication, such a structure will be constantly changing, adapting to modern realities. Keywords: brand management, branding, enterprises, fashion industry

<p><em>In past research, </em><em>branding strategy application in </em><em>the creative industry has been left largely unexplored. This study aims to investigate the types of </em><em>branding strategy elements perceived as the distinctiveness of West Java in fashion products of the creative industry. </em><em>Th</em><em>is</em><em> study </em><em>is a cross-sectional study using</em><em> survey method, which </em><em>i</em><em>s designed to </em><em>describe the frequency of customer perceptions of branding strategy elements such as products design, marketing communicationtools and physical environment. The data used in this study is primary and secondary data. The primary data is obtained from the results of observations, interviews and survey using questionnaires. The respondents of the study are the customers of fashion products in the creative industry who have been living in West Java at lest for two years. The study concludes that there are some critial points in building West Java brand through several branding strategy elements that need more attention such as (i) the performance of blogs and websites as marketing promotional tools used by companies in the creative industry is perceived low (37%); (ii) most of the fashion products marketed by companies in the creative industry are perceived similar and not unique (57%); (iii) the logo of the fashion products sold in the market by creative industry players is perceived not attractive (37%) and; the places where the fashion products are sold are perceived not clean (46%).</em></p><strong><em>Keywords: </em></strong><em>Branding Strategy, Fashion Products, Creative Industry</em>

<p><em>In past research, </em><em>branding strategy application in </em><em>the creative industry has been left largely unexplored. This study aims to investigate the types of </em><em>branding strategy elements perceived as the distinctiveness of West Java in fashion products of the creative industry. </em><em>Th</em><em>is</em><em> study </em><em>is a cross-sectional study using</em><em> survey method, which </em><em>i</em><em>s designed to </em><em>describe the frequency of customer perceptions of branding strategy elements such as products design, marketing communicationtools and physical environment. The data used in this study is primary and secondary data. The primary data is obtained from the results of observations, interviews and survey using questionnaires. The respondents of the study are the customers of fashion products in the creative industry who have been living in West Java at lest for two years. The study concludes that there are some critial points in building West Java brand through several branding strategy elements that need more attention such as (i) the performance of blogs and websites as marketing promotional tools used by companies in the creative industry is perceived low (37%); (ii) most of the fashion products marketed by companies in the creative industry are perceived similar and not unique (57%); (iii) the logo of the fashion products sold in the market by creative industry players is perceived not attractive (37%) and; the places where the fashion products are sold are perceived not clean (46%).</em></p><strong><em>Keywords: </em></strong><em>Branding Strategy, Fashion Products, Creative Industry</em>

In the digital age, social media has played an important role in the fashion industry, allowing consumers and anyone interested in fashion to interact more with designers and companies of top clothing, footwear and accessories Range. Our addiction to social media has increased a lot and become more integrated into our lives. People are increasingly impressed with their online exposure in the form of presidents, especially in the fashion field. Fashion is a multi-billion dollar industry with social and economic impact on a global scale. However, the increasing use of social media inside and outside the industry can affect this traditional system. Therefore, let's try to understand the elements of fashion success in the Instagram age. The Instagram account achieves a specific taste, authenticity and brand concept. The project aims to address the state of fashion within the framework of traditional fashion and how to break the tension around veil and fashion prejudices. This research attempts to understand new trends and new technologies promoted by social networks in the fashion industry. How and how they differ from traditional and traditional branding techniques in the fashion industry. This article will conduct an in-depth analysis of selected advertising speeches on fashion industry social media in the form of fashion promotion and corporate advertising on Instagram. This investigates the work of popular social media influencers and their impact on followers. Selected social media influencer forums are specific to YouTube and Instagram. Researchers are trying to understand whether the work of influencers in endorsing or reviewing products has a positive impact on their followers. Key Words: Social Media, Fashion, Branding, Instagram, Gujranwala youth

In the digital age, social media has played an important role in the fashion industry, allowing consumers and anyone interested in fashion to interact more with designers and companies of top clothing, footwear and accessories Range. Our addiction to social media has increased a lot and become more integrated into our lives. People are increasingly impressed with their online exposure in the form of presidents, especially in the fashion field. Fashion is a multi-billion dollar industry with social and economic impact on a global scale. However, the increasing use of social media inside and outside the industry can affect this traditional system. Therefore, let's try to understand the elements of fashion success in the Instagram age. The Instagram account achieves a specific taste, authenticity and brand concept. The project aims to address the state of fashion within the framework of traditional fashion and how to break the tension around veil and fashion prejudices. This research attempts to understand new trends and new technologies promoted by social networks in the fashion industry. How and how they differ from traditional and traditional branding techniques in the fashion industry. This article will conduct an in-depth analysis of selected advertising speeches on fashion industry social media in the form of fashion promotion and corporate advertising on Instagram. This investigates the work of popular social media influencers and their impact on followers. Selected social media influencer forums are specific to YouTube and Instagram. Researchers are trying to understand whether the work of influencers in endorsing or reviewing products has a positive impact on their followers. Key Words: Social Media, Fashion, Branding, Instagram, Gujranwala youth

Culture-specific Chinese-styled branding as a rising trend in cultural and branding studies has provided new discourse for the discussion on the national identity of Chineseness or chinoiserie that has long existed, with further reflections on the Chinese fashion brand design known as ‘Guochao’, which has become an increasingly ubiquitous new conceptual identity in the past five years. Chinese fashion brands are changing their peripheral cultural status and impacting global fashion, transforming the global recognition of Chinese national identity and style in the field of fashion. This article investigates this emerging phenomenon in the global fashion system and theorizes ‘Guochao’ as a rising cultural identity that reconfigures and readdresses the national identity in Chinese fashion branding practices in terms of its connotations and industry applications. It shows that the ‘Guochao’ identity can be separated into two sub-connotations: one that addresses the connotations of ‘Guo’ that symbolize, rejuvenate and rematerialize Chinese historical and material culture, and one that emphasizes the ‘Chao’ discourse, featuring subtle Chinese symbolism that incorporates strong western street style and further blurs the boundaries in the West‐East aesthetic binary system. Through case studies on the brand designs and campaigns of two Chinese designer brands that are paradigmatic of the ‘Guo’ identity, Angel Chen and MUKZIN, and two classic Chinese sportswear brands that are representatives of the ‘Chao’ identity, Li-Ning and Warrior Shanghai, the theoretical connotations of ‘Guochao’ as a rising cultural identity in Chinese-styled branding are discussed. This article theorizes ‘Guochao’ as a recreated representative cultural identity in global fashion that challenges the world’s understanding of chinoiserie in the field of fashion and further showcases the popularization of Chinese-styled branding in Chinese fashion.

In the emerging ‘video-first world’ of the last decade, global fashion brands have made the moving image an integral component of their digital marketing strategies. As a result, both the industry and popular perceptions of fashion film have been increasingly colonized by the notions of branding and promotion. Recent scholarship on fashion film too has put the fashion brand at the centre of analysis. This article argues against any such premature fixing of fashion film’s identity. Instead, it proposes shifting the existing perspective by reframing fashion film as not only a product of the fashion industry and associated media but also one of the cinema industry and culture. Drawing on media archaeological models of ‘excavation’ and ‘parallax historiography’, the article examines contemporary digital fashion film in parallel with fashion film of the early 20th century – a juxtaposition that helps to recapture the phenomenon’s remarkable diversity and open possibility in both periods.

The article is devoted to the analysis of modern trends in the development of brand collaboration in the fashion industry. Currently, the fashion industry is not going through the best of times because of the inability to create something revolutionary fashion. It seems that everything has already been invented, so famous brands are desperately looking for novelty. The production of products in South-East Asia reduces the cost of goods in the fashion industry, leads to the "democratization of luxury" and to the rapid obsolescence of things in the wardrobe [1; 19]. Luxury brands are losing touch with the consumer. Changing market conditions and the democratization of consumption lead to the need to look for new approaches to ensure the competitiveness of brands. When developing branding, companies primarily investigate real and hidden needs, stereotypes, and psychological attitudes. Currently, the opposition to "fast fashion" is customizing, i.e. redrawing old things that were in use. In addition, the "sustainable fashion" movement is expanding its influence, which opposes mindless consumption with a rational wardrobe and a careful attitude to the environment, as well as the production of durable clothing from renewable raw materialsA drop in the population's effective demand and a decrease in consumer brand commitment makes the situation worse. The fall in real incomes of the population in Russia is the transition from shopping middle segment the mass market and of mass in the segment and discounted used things. When developing branding, companies primarily investigate real and hidden needs, stereotypes, and psychological attitudes. Young people have always been indicators of fashion trends, and youth subcultures have always been a source of inspiration for designers. Currently, these are young people who do not part with gadgets, who possess IT technologies, active bloggers, who are always open to active use of any innovations, including in the field of fashion industry. Along with the close cooperation of famous brands with the sphere of art, quoting the works of famous artists, active involvement of famous personalities in the promotion of their fashion product, brands actively cooperate with each other. The most perspective direction for the development of co-branded technologies in the fashion industry is the FashionTech that connects the fashion industry and technology

The article is devoted to the analysis of modern trends in the development of brand collaboration in the fashion industry. Currently, the fashion industry is not going through the best of times because of the inability to create something revolutionary fashion. It seems that everything has already been invented, so famous brands are desperately looking for novelty. The production of products in South-East Asia reduces the cost of goods in the fashion industry, leads to the "democratization of luxury" and to the rapid obsolescence of things in the wardrobe [1; 19]. Luxury brands are losing touch with the consumer. Changing market conditions and the democratization of consumption lead to the need to look for new approaches to ensure the competitiveness of brands. When developing branding, companies primarily investigate real and hidden needs, stereotypes, and psychological attitudes. Currently, the opposition to "fast fashion" is customizing, i.e. redrawing old things that were in use. In addition, the "sustainable fashion" movement is expanding its influence, which opposes mindless consumption with a rational wardrobe and a careful attitude to the environment, as well as the production of durable clothing from renewable raw materialsA drop in the population's effective demand and a decrease in consumer brand commitment makes the situation worse. The fall in real incomes of the population in Russia is the transition from shopping middle segment the mass market and of mass in the segment and discounted used things. When developing branding, companies primarily investigate real and hidden needs, stereotypes, and psychological attitudes. Young people have always been indicators of fashion trends, and youth subcultures have always been a source of inspiration for designers. Currently, these are young people who do not part with gadgets, who possess IT technologies, active bloggers, who are always open to active use of any innovations, including in the field of fashion industry. Along with the close cooperation of famous brands with the sphere of art, quoting the works of famous artists, active involvement of famous personalities in the promotion of their fashion product, brands actively cooperate with each other. The most perspective direction for the development of co-branded technologies in the fashion industry is the FashionTech that connects the fashion industry and technology

In the fashion, industry brands are especially important, because the competition is high, and companies need to attract new customers and keep them. Successful branding requires a good knowledge of consumers and their purchasing processes. Brands have an important function in the fashion world, both for businesses and consumers. The brand is assured to the consumers by the quality and by acquiring some image and status in the company. A strong brand makes a profit for the company. In addition, a strong brand enables setting high prices and expansion of product range and introducing new products. In the survey, we wanted to examine the behaviour of customers in the clothing brands in the Slovenian market. We used a survey questionnaire to get the appropriate answers. The survey found that most respondents want to buy clothes in larger shopping centres and in the Internet, most often during the sale after the season.

Fashion is considered not only as clothing industry but also shows a person's lifestyle in appearance and becomes part of the identity of a group of people. "Gamis" is the trend among Indonesian women especially in Bandar Lampung, in recent years, is an encouraging phenomenon. The fashion industry is supported by various technological advances and the development of sophisticated civilization then it produces several products for its users. This is supported by several sides, both in terms of local designers who are increasingly capable of improving economic levels to the retail sector which is growing significantly. Indonesia has the potential to develop and even become a center for Muslim fashion in the world. This study aims to examine whether Life Style and Islamic Branding can influence purchasing decisions in Muslim fashion. The type of research is field research, and the nature of the research is quantitative descriptive analysis. The sample is consumers who use Muslim clothing products using the Solvin formula totalling 100 people. The data is analyzed using the SPSS version 21 application. The results, variable X1 or Life Style have a significant number below 0.05, which is equal to 0.000, so the hypothesis is accepted. The conclusion is the independent variable, namely Life Style, has a positive effect on the dependent variable, namely Purchase Decision (Y). This is in line with previous research and also the study of the theory of lifestyle on consumer decisions. The results of the research Variable X2 or Islamic Branding has a significant number below 0.05, which is equal to 0.003, so the hypothesis is accepted with the conclusion that the independent variable, namely Islamic branding (X2) has a positive effect on the dependent variable, namely, Purchase Decision (Y). The result is in line with previous research and also with the study of Islamic Branding theory.

One effect of the development of internet technology is the birth of social media. Instagram is a social media that is currently used by more than 61 million people in Indonesia. The number shows that Instagram has become an effective tool for an industry in the context of political economy practices, one of which is in the Muslim fashion industry. One of the Muslim fashion industries engaged in the digital world is santun.inv. This account has compared him to being a producer of the hijrah shirt. Based on its branding and products sold through its Instagram account, it can be seen in this account that has carried out the commodification of Islamic values through commodity tools. That way it can be seen, now the value of Islam can not only be operated at the level of scientific review and da'wah. But the function has shifted to become an economic tool.Salah satu efek dari munculnya teknologi internet adalah lahirnya media sosial. Instagram menjadi media sosial yang hingga saat ini digunakan oleh lebih dari 61 juta orang di Indonesia. Angka tersebut menunjukkan bahwa Instagram telah menjadi alat yang efektif bagi sebuah industri dalam rangka praktik ekonomi politik, salah satunya dalam industri fashion muslim. Salah satu industri fashion muslim yang bergerak di dunia digital adalah santun.inv. Akun tersebut telah membranding dirinya sebagai produsen dari kaos hijrah. Berdasarkan brandingnya serta produk yang dijual melalui akun instagramnya, dapat dilihat bahwa akun tersebut telah melakukan komodifikasi nilai islam melalui alat komoditi fashion. Dengan begitu dapat dilihat, kini nilai islam tidak hanya beroperasi di tataran kajian keilmuan dan dakwah. Namun telah bergeser fungsi menjadi alat ekonomi.

Paris, London, Milan, Tokyo, New York, the Gold Coast — the Gold Coast? The Gold Coast may not rank as an international focal point for high fashion, but it can claim the distinction of hosting the world's first major hotel named after, or more accurately branded by, one of the big names of the international fashion industry — Versace.

This research has identified the government's strategies to encourage creative fashion industries in Indonesia with its cultural branding and the applicability of sustainable competitive advantage as a concept to maintain competitiveness. This research employed a qualitative research method based on primary data, obtained from in-depth interviews at the Creative Economy Agency, the Indonesian Ministry of Trade and, the Indonesian Ministry of Industry, and the Central Statistics Agency. In analyzing the data, this research categorizes the reports and journals of the government's endeavor result. It then reduced the data by creating a discussion scheme and writing the core of each discussion component. Data is triangulated to compare the results of interviews with research objects and documents. The research found that the following are crucial strategies to empower sustainable competitive advantage of the creative economy in Indonesia's fashion subsector: Developing Priority Industry Clusters, Research and Development, Indonesia Trend Forecasting, Innovative and Creativity through Nusantara Collaboration, Modest Fashion, Intellectual Property Rights, and Economic Partnership Agreement.

The creative and cultural industries form an important part of many urban economies, and the fashion industries are one of the exemplar creative industries. Because fashion is based on intangibles such as branding and reputation, it tends to have a two-way relationship with cities: urban areas market themselves through their fashion industry, while the fashion industry draws heavily on the representation of place. In this paper we investigate this interlinked relationship between the fashion industry and place in four of the major cities of global fashion – London, New York, Milan and Paris – using data from the social media platform Twitter. To do this, we draw upon a variety of computer-aided text analysis techniques – including cluster, correspondence and specificity analyses – to examine almost 100,000 tweets collected during the Spring–Summer fashion weeks of February and March 2018. We find considerable diversity in how these cities are represented. Milan and Paris are seen in terms of national fashion houses, artisanal production and traditional institutions such as galleries and exhibitions. New York is focused on media and entertainment, independent designers and a ‘buzzy’ social life. London is portrayed in the most diverse ways, with events, shopping, education, social movements, political issues and the royal family all prominent. In each case, the historical legacy and built environment form important parts of the city’s image. However, there is considerable diversity in representation. We argue that social media allow a more democratic view of the way cities are represented than other methodologies.

Purpose This paper aims to address a fundamental research question on behavioral branding, as how behavioral branding experience in reference to self-congruence, brand attributes and vogue leads to a positive influence on behavioral branding. Design/methodology/approach This study is based on the qualitative information gathered from 25 purposively selected respondents using semi-structured research interviews in the Mexico City. The respondents belonged to the young executive segment within the age group of 20-40, who had trendy knowledge of fashion accessory brands and exhibited behavior toward buying high profile consumer brands. The respondents were located in the northern (Roma Sur) and southern (Coyoacan) municipalities of Mexico City representing 28 per cent male and 72 per cent female sample population. Findings Brands following the vogue in the market engage consumers emotionally toward its use and public expressions. The effect of vogue in fashion accessories was found to be greater for women. This effect influences personality traits, and comparison of appearance and social status. Brand attributes reveal a set of characteristics that identify the physical character and personality traits of the brand, congruent with the consumer emotions through which consumers identify themselves. Brand personality traits include brand image, responsiveness and trust among consumers. Consumer brand knowledge during the survey was explored in reference to the behavioral branding by gathering answers to what consumers identified as their favorite fashion accessory brands. Consumer perception on brand image, perceived use value and societal recognition to the brand drive the brand attachment feeling among consumers. Consumers personify the brands at an accelerated pace, and they get associated to these brands. Research limitations/implications Like many other empirical studies, this study also has some limitations in reference to the research methodology, sampling, data collection and generalization of the findings. As this study is qualitative in nature, there are possibilities of subjectivity in the responses, which might not be compatible with the quantitative data, if researched with such methodology. Practical implications This study prompts specific managerial implications allowing managers with insights to better understand the consumer perceptions on fashion brands, vogue and the cognitive dimensions in adopting the behavioral brands of the fashion industry. The study demonstrates that the process of co-creation of fashion brands, and setting up vogue in the society is based on the social needs and consumer engagement in the vogue. Originality/value There is paucity of qualitative research literature on brand behavior in reference to hispanic consumers in general and in reference to Mexican consumer in particular. Hence, this paper contributes to the existing literature. There are not many empirical studies that have addressed these questions either in isolation, or considering the interrelationship of the above factors. The determinants of brand behavior analyzed in this study can be further explored broadly with the consumer value and lifestyle management.

While most private-owned enterprises (POEs) in China are engaged in subcontracting or do not own the product brands, the number of POEs with their own brands has increased rapidly, while some are even globally recognized. Since these POEs face high opportunity costs for own branding, given their dominant presence in the global subcontracting community, their own branding actions require contextual understanding of doing business in China. This study starts with the notion of how these POEs shift from subcontracting to own branding, and explores their respective own branding paths. We interviewed seven Chinese POEs in the fashion industry in Zhejiang Province: Babei, Baili, Sunrise, Aokang, Youngor, Kangnai, and JNBY. The case studies suggest how these firms built their brands in the global market, and why their trajectories differentiated in the course of own branding. Our study configures three types of own brand models for POEs: the competitive subcontracting, the toehold, and the home-linked organic models. POEs can continue subcontracting in their core business, while implementing own branding through diversification. Alternatively, they can segregate markets, pursuing own branding in one group of countries, while subcontracting elsewhere. In addition, they may establish wholly owned enterprises, and introduce their brands in a way that preserves their home market advantages. We identify two stimuli for Chinese POEs’ global branding choices. Global branding strengthens domestic position as it becomes a signal for reputation. As the online platform reduces costs for global branding, and becomes popular, POEs are more likely to pursue global branding to become more competitive in the domestic market. Many POEs also continue to collaborate with the previous customers through strategic inter-dependence, such as distribution channel exchange.

Purpose: The purpose of this research is to have better insight regarding come out with a conceptual framework in studying the brand preference in Islamic Muslimah fashion industry development.Muslimah fashion industries are areas that have attracted attention, especially after the recent wave among brand endorser such an artist increases their level of awareness towards the religious and affected way of their attire. This study highlights a significant shift in consumers' behavior regarding brand preferences and investigates the motives behind such moves. Methodology: This paper explores the three independent variables and gathers findings from qualitative data through the literature on factors influencing customers' preferences for Muslimah fashion.Future branding empirical research would include these elements as items in building up the survey instrument. Results: The results show that uniqueness, price, and celebrity endorser are among the determining factors that influence customers' preferences in making decisions. Implications: Understanding customers' preferences on Muslimah fashion are crucial for a company that operates in fashion industries due to such a highly competitive industry and rapid change on taste and preference. Having a good understanding of the real motives behind customers' preferences on Muslimah fashion will help the business organization to understand customers better.These results will eventually be used for developing a conceptual framework to be used for future empirical research.

Purpose – The aim of this paper is to investigate the impact of brands on small to medium-sized enterprise (SME) performance in the fashion industry, trying also to shed light on the different effect that corporate and product brands may produce. Design/methodology/approach – The approach uses cross-sectional time series regression to investigate the relationship between trademarks and sales, controlling for firm size. A purposive sampling technique is adopted, focusing on a sample of Italian SMEs in the fashion industry. Findings – Results indicate that trademarks do have a positive impact on SMEs' performance in the fashion industry, and in particular corporate trademarks seem to be effective in producing a sales increase, while product trademarks do not. Research limitations/implications – The main limit of this research is that no variable mediating the relationship between trademarks and performance was considered. Furthermore, the number of trademarks may not capture all the dimensions of brand. Practical implications – The most important aspect is that SME managers in the fashion industry could benefit from a trademarking strategy; in particular, investments in building a strong corporate brand, thus concentrating SMEs' effort, instead of having many different product brands, seems to create greater effect in the minds of consumers, and thus result in sales increases. Originality/value – This paper is one of first attempts to shed light on the issue regarding the association between SMEs' branding strategy and performance. Moreover, the distinction between corporate and product brands represents an innovative element in this type of study.

Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term ‘fashion film’ is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of ‘fashion film’ as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of ‘content’ through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence.

Artikel ini membahas perancangan kembali desain branding identitas desain logo Abidaufa. Peran branding dan desain dalam proses pembentukan identitas/citra. Disebabkan makin meningkatnya kompetisi antar produsen. Abidaufa adalah sebuah brand nama dari industri rumahan bergerak dibidang fashion kulit, yang berada di jalan Amal (Jl. Puskesmas) Medan-Binjai. Abidaufa berdiri pada bulan Oktober 2013, hingga kini telah memproduksi aneka kerajian dari kulit, berupa dompet, ikat pinggang, tas, dan tali jam tangan. Adapun bahan kulit yang diproduksi berasal dari kulit sapi, kulit ikan pari, kulit biawak dan kulit ular. Sebagai industri rumahan, Abidaufa telah berhasil menarik minat pembeli melalui hasil karya yang diproduksi. Pembeli datang tidak hanya dari daerah Kota Medan saja melainkan dari luar kota. Abidaufa telah memiliki logo, tetapi logo Abidaufa belum memiliki mewakili karakter, visi, dan misi dari usaha yang dijalankan, maka dengan itu dilakukan rebrending logo sesuai karakter yang mewakili visi dan misi dari Abidaufa. Pada perancangan logo Abidaufa, berdasarkan analisis studi literartur yang relevan memakai metode 5W+1H, logo menggunakan konsep warna, tipografi, dan jenis komposisi yang memberikan kesan profesional sesuai dengan visi dan misi Abidaufa.

Indonesia is a country that has great potential to become the center of the world's halal industry. This is analogous to the largest Muslim population, and Indonesia is ranked fourth in the development of the sharia economy. On the other hand, this is also analogous to people's consumption patterns for clothing or fashion needs that are always evolving, and become part of human secondary needs. That way, we can maximize efforts to make Indonesia the center of the halal industry in the world, especially in the field of Islamic fashionpreneur. Currently, there are many Muslim fashion start-ups and Muslim fashion designers born in Indonesia. This is in line with human desire for an elegant style to beautify their appearance and increase their self-confidence. Based on the data and the reality on the ground, Indonesia has a huge opportunity to become the center of the world's halal industry through Islamic Fashionpreneur. Obstacles in Indonesia's development to become the center of the world's halal industry through Islamic Fashionpreneur, among which are raw materials that are difficult to obtain or cannot be provided domestically or still have to be purchased or imported from other countries. Besides, on average, most Muslim fashion craftsmen still use traditional technology and can be said to be "less up-to-date", plus the problem of being in the field of Islamic Fashionpreneur or just making it a hobby or filling spare time. Therefore, in this study using a qualitative field survey method, it was found a strategy to boost Islamic fashionpreneur so that they can make Indonesia the center of the halal industry in the world through Islamic fashionpreneur. Among them are, first, determining the positioning strategy, secondly, differentiation, and thirdly branding. Through these three strategies, it is hoped that Indonesia will survive as the center of the world's halal industry, which is supported by Islamic Fashionpreneurs.

Social media is a new platform for CEOs to build their image and create a strong personal brand to represent themselves and their company. This research examines an outstanding Malaysian fashion icon and social media–savvy businesswoman with over a million followers on Instagram, Vivy Yusof, the youngest Malaysian e-commerce mogul and an example of a successful CEO who has used personal branding to build an empire in the fashion industry. The objectives of this research are to identify the type of messages Vivy Yusof communicates to her audience through her personal Instagram posts and to identify the ways Vivy Yusof’s audience engages with her posts on Instagram. Her Instagram post content is classified using the Honeycomb framework that comprises seven functional building blocks, namely, presence, relationships, reputation, groups, identity, conversations, and sharing. In this study, the content of Vivy Yusof’s Instagram posts is categorized by how she focuses on the various functional building blocks in her posts and the implications these blocks have on how her audience interacts with the posts. Her social media presence confirms the importance of CEO personal branding because of her role and influence on the masses evidenced by the willingness of her followers to interact (through likes and comments) and engage with her posts on any subject matter, relating either to her business or personal life. The study contributes to a growing body of literature on personal branding strategies by shedding light on the association between content strategies and engagement with social media content.

Subject area Brand Management, Branding Strategy, Strategic Management. Study level/applicability The case study is suitable for postgraduate management programs, such as MBA, Executive MBA and executive development programs. Case overview This case study provides a detailed analysis of Amazon India’s branding strategy by way of analyzing popular branding campaigns such as “Try to kar”, “Aur Dikhao”, “Kya Pehnu” and “Apni Dukaan” that enabled the global brand to reach to the masses of Tier-II and Tier-III cities in India. Facing fierce competition from existing market leaders such as Flipkart and Snapdeal, Amazon India strategizes to attract Indian consumers by rightly capturing their behavior in terms of demanding “highest power of options”, “fashion choices”, “originality” and “trust” with its local flavored advertisement campaigns enabling it to create a “trusted, reliable and local” brand identity. With the help of sufficient data and numbers about the industry, company and competitors, the analysis presents a clear picture of the current status of Amazon in the Indian e-commerce space and leaves the readers with food for thought concerning whether this “culture-specific” branding strategy will enable Amazon to become the number one choice for Indian online shoppers in the near future. Expected learning outcomes This case study helps students to understand how global MNCs use unique branding strategies to capture mass-markets in e-commerce business, the role of culture-specific aspects in developing differentiation strategies and the role of local flavors in branding strategies and internationalization. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code: CSS 8: Marketing.

Abstract: A new way for individuals to interact with computer systems will be done through chatbots or conversational interfaces. Historically, introducing a matter answered by a software package involves employing a program or filling out a type. The technology at the core of the increase of the chatbot is NLP i.e., Natural Language Processing. Sequence to Sequence (often abbreviated to seq2seq) fashions is a specific type of Recurrent Neural Network architectures that we commonly use (but no longer restricted) to clear up complicated Language issues like Machine Translation, Question Answering, growing Chatbots, Text Summarization, and so forth. Recent advances in machine learning have greatly improved the accuracy and effectiveness of NLP, creating chatbots a viable choice for several organizations like e-commerce, Customer service, Conversational apps, social media, Sales/Marketing/Branding, as Voice modules, Travel industry, Medicine, Hospitality, Human Resources etc. An NLP primarily based chatbot is a pc software or synthetic brain that communicates with a patron by means of textual or sound strategies This improvement in NLP is firing a great deal of additional analysis and research which should lead to continued growth in the effectiveness of chatbots in the years to come. Stochastic gradient descent (often abbreviated SGD) is an iterative approach for optimizing an goal characteristic with appropriate smoothness homes (e.g. differentiable or sub differentiable). Usage of Chatbots can also prove to be beneficial in ways like economically offering 24/7 service, improving customer satisfaction, reaching a younger demographic, reducing costs, increasing revenue and much more. Keywords: Chatbots, Natural Language Processing (NLP), Stochastic Gradient Descent (SGD), Sequential Model, Machine Learning

Why is there no SEAT Barcelona? Barcelona is a well-named place brand, but SEAT consciously has disassociated itself from its geographic origins. This seems rather strange decision if one takes into account the increasing importance of the place-of-origin effect in automotive industry. This article describes how SEAT has constructed its Spanish identity and hidden its Catalan-Barcelona origins, and discusses SEAT’s own growing “denationalization” because of the acquisition by Volkswagen Group by using banal nationalism to gain the loyalty of the country’s nationalist consumers and to fashion a corporate image in line with Spain’sMarca España, or national brand. Through this decision, SEAT has lost the opportunity to associate itself withMarca Barcelona, a successful urban brand.

Purpose – The purpose of this paper is to provide a new perspective by conceptualising country of origin (COO) from a management perspective, identifying the impact different COO constructs have in the context of fashion retailer and manufacturer businesses. Design/methodology/approach – This qualitative study comprises a series of in-depth interviews with key informants from large-scale fashion retailers and manufacturers in the UK. Findings – The major findings of this research demonstrate that COO is considered a strategic business imperative but manifests in a variety of ways depending on brand positioning, long-term strategic plans, expertise, and brand values, etc. Research limitations/implications – This study contributes to the body of knowledge about the importance of COO. The findings of this research will have practical implications for manufacturers and retailers, informing the debate on the value of the “Made in […]” epithet. Findings are limited to the UK fashion clothing industry. Originality/value – This research presents a new perspective on the COO construct, addressing it from a management rather than consumer perspective. It argues that COO can be considered as a strategic dimension, which is manifested in a variety of ways. COO has been extensively researched from a consumer point of view but this research takes a new approach by presenting findings from a managerial point of view, with fashion manufacturing and retail branding as the context.

Subject. The article discusses how brand influences corporate and financial strategies. Objectives. We determine the role of brand in setting up transformation strategies, including M&A, financial indicators of companies. Methods. We relied upon methods of economic analysis and synthesis, comparison, matching. Strategic analysis is based on renowned concepts for strategic marketing and branding, including those proposed by M. Porter, Ph. Kotler, R. Kaplan and D. Northon, V. Kvint's methodology for strategy-setting. Results. Illustrating some cases, we justify the hypothesis stating that branding plays the most significant role in setting up transformation deal strategies for consumption sectors, light industry and fashion, while transformation processes in high-tech, banking are not always accompanied with rebranding. Furthermore, we suggest how it should be assessed whether it is reasonable to save a brand in case of M&A. Conclusions and Relevance. Businesses can refer to this study and respective cases to comprehensively evaluate business transformations, including new views of the role a brand plays for the financial feasibility of M&A deals across industries. The capitalization of a newly transformed company can be increased provided rebranding is more thoroughly considered as part of M&A.

This article uses textual and discourse analysis to examine how Annie Clark, who records and performs under the alias St. Vincent, problematized the electric guitar’s gendered address by designing a Signature Collection for Music Man, a subsidiary of equipment manufacturer Ernie Ball. It first contextualizes the industrial efforts to make the electric guitar more accessible to girls during Clark’s adolescence and their limitations. It then analyzes Clark’s promotional strategies for the collection. Most branding opportunities available to female music industry professionals interested in extending their commercial shelf life often affirm conventionally feminine modes of creative self-expression, such as fashion and cosmetics. Clark’s guitar challenges such gender essentialism by highlighting her own virtuosity as a queer musician, songwriter, and producer while giving players a different set of tools with which to create new sounds.

This article traces the sukajan’s journey from military souvenir to fashion statement. Originally embroidered by the Japanese for American soldiers in Occupied Japan, the sukajan, or souvenir jacket, went on to commemorate further tours of duty, including the Vietnam War. In the second half of the twentieth century, it was worn as an act of defiance by members of subcultures both inside and outside Japan, developing connotations of rebellion. Its visibility in media culture further popularized this garment. The sukajan’s historic associations with military conflict and subculture style, as well as identification with Japanese craftsmanship, made it ideally suited for new vintage production, a growing trend in the fashion industry. The design, branding and marketing of new vintage sukajan drew on these associations to add gravitas to this mass-manufactured garment. Despite its ubiquity, it has received little critical investigation. This article brings the history of this neglected garment to light, and also contributes to debates around the commodification of youth subculture style and military chic. Through an examination of the materiality of the sukajan as it moves between cultures, through time and across space, it further demonstrates how such a study can disrupt the Eurocentrism that continues to plague fashion studies and can contribute to an enriched discussion of imitation, transformation and identity in moving between the global and local. Finally, this article asks: what are the implications of co-opting a garment originating in the brutal militaristic struggles between nations and cultures, sanitizing this history and selling it as fashion?

Purpose – Over the past few years online fashion communities have proliferated becoming an increasingly powerful forum for user-generated content, and consequently, the fashion industry has shown great interest in such communities. The purpose of this paper is to review and analyse brand advocacy behaviour within luxury brand accessory forums: to analyse the role these communities play in influencing purchase intention; assessing their contribution to fashion brand love. Design/methodology/approach – The study adopted a netnographic approach to the phenomenon of online luxury accessory communities. The research reports observational data including blog texts and audience comments for four popular forums: The Purse Forum, The Fashion Spot, The Bag Forum (TBF) and Shoe Forum (SF). Although the forums are open to all and are designed to be internationally relevant; the observations were conducted from a base in the UK. Findings – Findings indicate that informants display some unifying characteristics clustered around engagement, involvement, self-concept and self-connection, brand love and hedonic values. Informants however, display some discernible differences as they “rally” to two distinctive totems: first, active luxury brand advocates and second, passive brand advocates. Although subtle, these differences suggest significant possibilities for fashion brand owners. Research limitations/implications – Further research could include the measurement of brand advocacy to distinguish more clearly between high and low levels of advocacy and the resulting consumer behaviour intentions. One sub-group that would be interesting to explore is that of brand evangelists and their relationship with fashion brands: what are the reasons for treating brands as religious artefacts and can this extreme level of advocacy be developed by marketing? The study focused on observing online posts by self-selected brand advocates. A worthwhile comparison could be made with fashion communities where brand marketers are active participants and how this influences the discourse and actions of brand advocates. Practical implications – The findings indicate that all forum members are incredibly attached to their brands, but will still consider purchasing several brands as their “evoked set”. Additionally, even when demonstrating involvement, they can operate as passive observers in the online community. Originality/value – Social media, especially online forums, play an important role in contemporary luxury fashion branding. This study addresses the role these forums play in supporting brand love and the contribution they make to luxury brand advocacy. Membership and influence dynamics are reported; which have resonance to both practitioners and researchers.

Topicality. Social media and web technologies allow customers to interact and communicate. Companies use social networks to promote their brand information. with the use of technologies Web 2.0 and later companies radically changed marketing processes and switched from interacting with groups of anonymous consumers to targeted interaction with specific consumers, for which it is possible to collect data about advantages, preferences, other purchases, interests and circles of communication. Big brands tend to connect with their customers through social media channels. Social networking sites such as Facebook, Twitter and MySpace, etc., have a significant impact on the lives of customers and their consumer and information experiences. Social media has a direct impact on how people communicate, exchange information, maintain their profiles, and establish relationships with others. Fashion industry is an important and growing element of modern consumer markets. As competition among fashion brands becomes more intense, offering many alternatives to customers, brand prosperity no longer seems to be guaranteed. The importance of managing clients as valuable assets of brands is no longer underlined. In this regard, it is of interest to explore the use of social media marketing tools (SMM) by fashion industry companies.Aim and tasks. The purpose of the article is to describe the peculiarities of using SMM tools industry companies to implement marketing policies by creating and developing brand capital and intent to purchase.Research results. The conceptual principles and purposes of using marketing of social networks for companies of the fashion industry are considered. On the basis of the analysis, it was established that, firstly, SMM activities of fashion brands include five elements; entertainment, interaction, tendency, adjustment and publicity (word of mouth). SMM branding, relies on and promotes values that are different from those of traditional marketing. Second, SMM's customer-perceived activity is important for all brand capital drivers. Since these measures for trendy brands are valid for all engines, they are quite effective. As an integrated marketing environment, SMM's activity effectively increases value capital by providing customers with a new value that is traditionally not available on ordinary media channels. The platforms of social media brands provide customers with the opportunity to establish sincere and friendly links with the brand and other users, so the brand's on-the-go social communications have had a positive impact on equity and equity of the brand.Conclusions. In comparing the influence of three customer equity drivers on purchase intention, value equity, and brand equity, this study found significant positive impacts. The findings of this study not only draw attention to the definition of brand equity capital but also point to opportunities and difficulties in determining future customer behavior. The conceptual foundations, mechanisms, tools and practice of applying SMM are the subject and prospects for further research in this direction.

The modern business of the textile and clothing industry implies product fragmentation, which is followed by the defragmentation of the production cycle on a global level, which today is facilitated by technical and technological innovations. The dominance of the corporate entity in the modern economy means that every company must constantly monitor changes, in order to actively engage in the continuous generation of competitive advantages. It can be said that the basis of modern competitiveness today is quality, flexibility, the existence of raw materials, degree of automation, organizational innovation, human resources and cluster business, while creativity - original design, specialization, diversification, technical and technological innovation, e-business and circular economy are key factors in maintaining a competitive position in the global market. Coexistence with the new global rules is the inevitability of modern strategies for the work and development of the textile and clothing industry, which requires, among other things, continuous investment in raising productivity or product credibility, using internationally accepted certification methods, launching new product lines and expanding markets by conquering new segments on different basis (branding, online shopping, recycling, fast fashion, etc.). It should be noted that in addition to all the above factors companies (part - 1, 2 and 3) influencing the work and development of textile and clothing industry, which should be an integral part of new strategies, there are other factors that may be important or even crucial for successful and efficient operation, development and operation of textile and clothing industry companies.

Purpose The activewear industry would benefit from an evidence-based understanding of how activewear is incorporated into women’s lives and their changing participation in physical activity. Activewear brands may be missing the trend of women moving from organised sport to non-organised and individualised sport and recreation. The purpose of this paper is to explore the degree to which academic and industry research understood patterns and influences on female’s activewear consumption and identified what significant gaps are evident in understanding the drivers and industry trends that pertain to female consumers of activewear. Design/methodology/approach The systematic literature review sought academic and industry research papers. Articles were selected if they included female participants; and/or addressed consumer related information; and focussed on active wear. Article findings were thematically analysed. Findings Most literature exploring activewear consumption fails to take gender into consideration or explore unique female consumer profiles. Females are bringing activewear into other parts of their wardrobe and place more value on fashion, even for sports attire. Research identified the need for activewear brands to consider lifestyle, emotional and personality elements of consumer behaviour. However a specific focus on women’s branding was absent. Women’s age and generation influenced their activewear consumption. Although some industry reports discussed the shift in use of activewear, no studies explored the impact of the critical shift in women’s physical activity patterns on the activewear industry. Originality/value This review identifies the gap in knowledge regarding women’s activewear consumption patterns and needs, and the importance of reflecting the changes in female physical activity participation. It also links marketing and design of women’s activewear to the needs of female consumers based on their actual patterns and trends in physical activity. The findings are relevant to activewear researchers, brands, marketers and producers.

The article seeks to explore the specifics of premium brands and current trends in business entrepreneurship. Managing modern Luxury business, in other words, fashion industry, and in particular designer brands as its key asset is an independent scientific and applied research issue which has gained increasing importance over the last decades. The economic crisis spurred by the COVID-2019 pandemic has become a profound turmoil for the global economy. However, according to the results of modern research studies, this situation has contributed to creating favourable environment for bringing business to a qualitatively new level which resulted in the first place in shifting much of creative business processes to a virtual domain, thus transforming fashion business into online business models. The research hypothesis is represented by the statement that a thoroughly developed and implemented marketing strategy based on Luxury technologies, as well as doing entrepreneurship-driven business including strategic marketing positioning, will facilitate a significant increase in the company market share and profits along with finding pathways to outperform the competitors, including big international market players. The purpose of this study is to substantiate the variability of making use of Luxury technology as a promising tool to boost the competitiveness of entrepreneurial ventures. The methodological framework of the research covers a branding theory – to identify the most appropriate methods to build Luxury brands, strategic marketing tools – to develop a business strategy to promote Luxury brands, portfolio and matrix approaches – to justify the positioning of Luxury brands. In addition, the study offers a matrix approach to managing designer brands, together with suggesting a better understanding of the role of a designer brand portfolio concept as the most effective business model in the area of Luxury sector management. It is argued that application of Luxury technology will help to enhance the designer brand management paradigm in both local and the global Luxury markets.

Purpose The growing competition in Malaysia’s modest fashion industry has proven to be the main challenge for the business to stay relevant in the market. Based on this reason, it is vital for marketers to create a differentiation in their brands to attract more customers. One of the ways to create this differentiation is by establishing brand personality. Brand personality does not only differentiate from one product to another but is also a common strategy used by marketers to create competitive advantage for their business. Although brand personality has been studied on various product brands, limited research has been done on Muslim products, especially modest fashion apparel. Because modest fashion is considered as Muslim products in Malaysia, this paper aims to examine the relationship between Halal brand personality and brand loyalty with the aim of providing a better understanding of the Islamic marketing concept. Design/methodology/approach Descriptive survey design was conducted to measure consumer behavior, attitude and perception within a specific period. A total of 400 respondents were identified for the study. Purposive sampling was chosen for this study because the respondents are expected to have same set of characteristics and perceptions toward the phenomena. Five-point Likert scale was used to assess consumers’ perception of the relationship between Halal brand personality and brand loyalty. Last but not least, SPSS software (Version 22.0) was used to analyze the data through multiple regression analysis. Findings The result indicated that only three out of five Halal brand personality dimensions have a significant relationship with brand loyalty. The three significant dimensions are excitement, sophistication and righteousness. It can be concluded that modest fashion brands need to include all of the three dimensions in their branding strategy. Research limitations/implications Two main limitations in this study is that it was conducted only in a stipulated period and it focused only on one generational cohort, which is millennial consumers. Practical implications This study provides new recommendations to the knowledge gap of brand personality introduced by Aaker (1997). It helps the marketers and researchers to understand the importance of emphasizing religious values in marketing Halal products to their consumers. This study further recognizes the relationship between Halal brand personality and brand loyalty, particularly with regard to millennial’s modest fashion consumption. Originality/value Brand personality has received levels of attention from academics and practitioners alike; however, there is a lack of research on Halal brand personality in marketing field, particularly on its relationship with brand loyalty. To the best of the authors’ knowledge, this study presents the first empirical test of the direct effect of Halal brand personality and how it drives millennial consumers’ brand loyalty.

Purpose Sectoral brand management processes have presented planning, development and implementation challenges. With the aim of reducing these managerial problems, the purpose of this paper is to revise the structure and the processes of the sectoral brands management. Design/methodology/approach This is a qualitative exploratory study, with its unit of analysis being the process of managing the brand of the Brazilian fashion sector. Primary data collection was obtained through in-depth interviews with the seven industry associations and with the company responsible for the brand consulting. The secondary data used were reports about the branding process of the brand provided by respondents. Data analysis was provided by using the VSM to modeling sector structure and BPMN to processes modeling. Findings The results present a new sectoral brand structure and process to reduce existing barriers. Three sections were carried out: analysis and modeling of the current structure and processes of sectoral brand management; presentation of the current structure and processes problems; analysis and modeling of future structure and processes of sectoral brand management. Research limitations/implications A theoretical contribution is provided in the literature of systems, processes and sectoral brands, since there are no previous studies that elaborated a system structure and process for sectoral brands. In addition, other theoretical contribution is the presentation of a future process model that relates brand management process with its system structure, that is, it relates BPM analysis with VSM. Practical implications It is also possible to indicate that VSM and BPM can contribute to the management of sectoral brands, through the structural and process problems identification and also by making possible to suggest future management improvements to reduce the barriers that were identified. Originality/value The present study originality is the approach of the first analysis of sector brand management with emphasis on its structure and processes that were experienced by the Brazilian fashion sector.

AbstractThe development of the economy and creative industry is developing so rapidly, that the Indonesian government encourages all regions to develop the creative economy to boost the local economy, one of which is to form a special body that manages and manages the creative economy from the central to the regional level, namely the Creative Economy Agency or BEKRAF. Cirebon City has a very strategic geographical location because it is located in the path of the crossing of goods and services through the north coast (pantura) which connects the western region which is the center of national economic circulation. This study uses a survey method with a qualitative approach and descriptive analysis. The results of this study indicate that the culinary sub-sector is the largest sub-sector of the other types of creative economy in the city of Cirebon with a percentage reaching 42%, followed by the Fashion economy 15%, Craft Economy, Architecture and Visual Design respectively by 12%. whereas for the most creative economy actors, the District Prosecutor's Office reached 45.8%, followed by Harjamukti District 37%, Pekalipan District 25%, Kesambi District 10.7% and Lemahwutut District 6%. From these data, the culinary economy, Fashion and Craft can be used as a superior subsector for the City of Cirebon, while the District Prosecutors and District Kesambi can be used as a creative economic center in the city of Cirebon. The potential to make the Creative economy as one of the sectors boosting the local economy in the city of Cirebon is very large, with the condition that there is good cooperation between related parties so that the synergy and management of the management run in harmony and balance, in addition it also requires 3 (three) important steps to improve and developing a local economy through a creative economy, namely: building a shared commitment, determining superior accommodation and finally creating local branding. Keywords: Creative Economy, Economic Development, Economic Innovation AbstrakPerkembangan ekonomi dan industri kreatif berkembang begitu pesat, sehingga pemerintah Indonesia mendorong semua daerah untuk mengembangkan ekonomi kreatif untuk menigkatkan ekonomi lokal, salah satunya adalah dengan membentuk badan khusus yang mengelola dan mengurusi ekonomi kreatif dari tingkat pusat hingga daerah yaitu Badan Ekonomi Kreatif atau BEKRAF. Kota Cirebon memiliki letak geografis yang sangat strategis karena terletak di jalur perlintasan barang dan jasa melalui pantai utara (pantura) yang menghubungkan wilayah bagian barat yang menjadi pusat perputaran ekonomi nasional. Penelitian ini menggunakan metode survey dengan pendekatan kualitatif dan analisis deskriftif. Hasil penelitian ini menunjukkan bahwa Sub sektor kuliner merupakan sub sektor paling besar dari jenis ekonomi kreatif lainnya di Kota Cirebon dengan persentase mencapai 42%, disusul kemudian oleh ekonomi Fashion 15%, Ekonomi Kriya, Arsitektur dan Desain Visual masing-masing sebesar 12%. sedangkan untuk wiyalah yang paling banyak pelaku ekonomi kreatifnya adalah Kecamatan Kejaksan dengan persentasi mencapai 45,8%, disusul Kecamatan Harjamukti 37%, Kecamatan Pekalipan 25%, Kecamatan Kesambi 10,7% dan Kecamatan Lemahwungkuk 6%. Dari data tersebut maka ekonomi kuliner, Fashion dan Kriya bisa dijadikan sebagai subsektor unggulan untuk Kota Cirebon, sedangkan Kecamatan Kejaksan dan Kecamatan Kesambi bisa dijadikan sebagai pusat ekonomi kreatif yang ada di Kota Cirebon. Potensi untuk menjadikan ekonomi Kreatif sebagai salah satu sektor pendongkrak ekonomi lokal di Kota Cirebon sangatlah besar, dengan syarat terjadi kerjasama yang baik antara para pihak terkait sehingga sinergi dan manajemen pengelolaannya berjalan selaras dan seimbang, selain itu juga diperlukan 3 (tiga) langkah penting untuk meningkatkan dan mengembangkan ekonomi loka melalui ekonomi kreatif yaitu : membangun komitmen bersama, menentukankomoditas unggulan dan terakhir adalah menciptakan local branding.Kata Kunci : Ekonomi Kreatif, Pembangunan ekonomi, Inovasi Ekonomi

ABSTRAKIndustri halal dinilai memiliki peluang menjanjikan seiring meningkatnya gaya hidup halal dikalangan masyarakat. Dimana saat ini industri halal telah mencakup semua perspektif diberbagai bidang kebutuhan individu. Pemanfaatan barang halal sudah meluas baik bagi muslim maupun non-muslim yang peduli akan gaya hidup sehat, karena halal telah mencakup unsur kebersihan, keselamatan, dan keamanan. Hal ini berdampak pada tingginya minat konsumen terhadap produk halal baik itu barang ataupun jasa, sekaligus dapat menjadi peluang bisnis bagi produsen untuk mulai berkonsentrasi pada pembuatan produk halal guna memenuhi permintaan pasar. Tujuan penelitian ini untuk mengetahui faktor apa saja yang mempengaruhi keputusan pengusaha dalam memilih bisnis. Metode penelitian yang digunakan yaitu Analitical Hierarchy Process (AHP) dengan menggunakan alat analisis Expert Choice 11. Pemilihan metode analisis ini untuk mengetahui faktor terkuat yang mempengaruhi keputusan pengusaha berbisnis fashion muslim di Kota Semarang. Data yang bersifat kualitatif diperoleh melalui wawancara dengan bantuan kuesioner yang diajukan kepada 5 pengusaha fashion muslim di Kota Semarang. Hasil penelitian menunjukkan bahwa faktor-faktor yang mempengaruhi keputusan berbisnis fashion muslim setelah diurutkan yaitu Religiusitas (51,4%), Efikasi Diri (22,0%), Halal Lifestyle (15,5%), Motif Ekonomi (11,1%).Kata Kunci: Keputusan, Bisnis, Pengusaha Muslim, Fashion Muslim. ABSTRACTThe halal industry is considered have promising opportunities as the halal lifestyle increases among the community. Where now the halal industry has covered all perspectives in various fields of individual needs. The use of halal goods has expanded both for Muslims and non-Muslims who care about a healthy lifestyle, because halal includes elements of cleanliness, safety, and security. This has impact on high consumer interest in halal products, both goods and services, as well as a business opportunity for producers to start concentrating on making halal products to meet market demand. The purpose of this study to find out what factors influence the decision of entrepreneurs in choosing business. The research method used is Analytical Hierarchy Process (AHP) using Expert Choice 11 analysis tool. The selection of this analysis method is to determine the strongest factors that influence the decisions of Muslim fashion business entrepreneurs in Semarang City. Qualitative data were obtained through interviews with the help of questionnaires submitted to 5 Muslim fashion entrepreneurs in the city of Semarang. 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Recently, traditional cultural resources (TCRs) have become a core part of enterprise clothing branding strategies. Such clothes, expressed in traditional culture, are widely accepted and recognized by audiences. Unfortunately, industry has leveraged these brands poorly and created ones that lack sign-cognition of TCRs. This has resulted in products reflecting shallow traditional cultural patterns (sign-form) rather than deeper adapted cultural expressions. The negative association resulting from this shallow and generic patterning in branding can be harmful for TCRs and damage the image of a brand in the minds of the people, thereby threatening the survival and long-term development of the brand. In order to solve this problem, this study divides the solution into three steps: (1) defining and understanding sign-meaning and sign-function in TCRs from the context of existing literature; (2) assessing, evaluating and breaking down sign-meanings, via in-depth interviews, into several sign-production sub-categories: (a) cultural attribution orientation; (b) knowledge perception orientation; and (c) stakeholders orientation; (3) Utilizing a typical brand development case study to demonstrate how these sign-meaning sub-categories can be help a brand better communicate with its audience. Firstly, it is noted that cultural attribution orientation: (a) expands the notion of brand culture; (b) promotes the movement of the design language of a brand from a dependent development into an independent development; and (c) connects the brand with potential audiences through a cultural gene transmission. Secondly, it is noted that knowledge perception orientation not only expands the foundation of expert groups but also provides TCRs-related to platforms of learning for audiences (e.g., to convey the brand’s social reputation of responsibility through educational communication). Thirdly, stakeholder orientations provide a foundation for brand integration with commercial resources and thus transform the brand to combine with social, commercial and industrial forms of collaboration. Beyond these three sub-categorizations, the study shows that sign-functions of TCRs can have an influence on cultural transformation, academic cohesion and social connection for clothing brands. This study provides a new perspective on TCRs with respect to sign-meaning and sign-function. TCRs can help clothing brands expand to reach audiences of traditional communication media, such as fashion shows. They can also help establish a more stable community mode of communication for non-commercial purposes.

The understanding of the concept Aurah has currently seen an ascending growth among Muslim women. The question is, how far is the understanding of the concept to be accustomized with daily clothing such as telekung (cloak for Muslim women). The design of telekung is mandated by the Islamic Dress Code Ethics which is stated in the al-Quran. This paper discusses both, relative topic of interests that touches the essential concepts and the latest trend in telekung industry in Malaysia that unleashes a rather bewildering new contemporary threshold in the local Muslim fashion universe. Telekung is a Malay word that refers to the types of clothes worn by Muslim women during prayer to cover aurah – it covers the whole body except face. The research project explores multifacets angles of imperatives associated with the subject such as background, history and the development of telekung. The research also touches on the current issue related to the term contemporary being tagged to muslimah fashion. With the confusion rippled from the insignificant branding being labelled on the subject, now many consumers have been deceived by the misconception of a so called contemporary telekung. Many perceive or even worse marketed to believe that contemporary telekung has to be stupendously attractive, fashionable and trendy. Many does not know wearing this types of telekung defeats the fundamental purpose of the making and wearing of the telekung. The rippling confusion has created an immense stir of echoes among Muslim wear designer and consumer at large. Research will touch on this conflicting subject. Research also provides side notes on the aspect of sunnah and the concept of makruh of wearing telekung. This should be relative aid to suggest possible solution to the above indecisive polemic. Pemahaman tentang konsep aurah dikalangan wanita Islam berkembang secara positif, namun, sejauh mana pemahaman itu diterapkan pada pakaian yang dipakai termasuklah telekung. Telekung juga merupakan salah satu kategori pakaian yang wajib mematuhi kod pakaian Islam. Kertas kerja ini membincangkan tentang tren terkini rekaan telekung kontemporari di Malaysia yang semakin bercambah dengan pelbagai jenis rekaan, motif dan warna pada telekung. Telekung merupakan kain selubung yang dipakai untuk menutup aurat dan tubuh seorang perempuan Muslim ketika mengerjakan ibadah solat. Menutupi seluruh anggota badan, kecuali bahagian muka. Kajian ini turut menyusuri permulaan dan perkembangan telekung secara ringkas mengenai asal-usul telekung. Rekaan telekung kontemporari yang direka dengan tren yang sangat menarik sehinga fungsi dan tujuan utama telekung dipakai untuk mengerjakan solat telah bertukar kepada pusat perhatian. Bagi membincangkan keadaan semasa ini, Sunnah atau makhruh telekung yang dipakai itu, beberapa contoh telekung kontemporari semasa dipasaran tempatan digunakan sebagai kajian kes. Fesyen dan trend menawarkan pilihan tanpa had kepada masyarakat mengatasi tuntutan syariat.

The objective of this research was to analyze personal branding development from personal brand identity, personal brand positioning, and personal brand assessment. The object of this research was Diana Rikasari's blog “Hot Chocolate and Mint”. She is one of prominent influence and fashion blogger from Indonesia. The research used the qualitative method with data collection by virtual observation from June until August 2016. Rikasari’s personal branding showed on her blog was the fashionably smart woman who had entrepreneurship competence. This research finds out that Diana Rikasari success to make her personal identity by her blog profile and blog posting. Her positioning is clear as Indonesian modern woman. The personal brand assessment can be seen through the achievements and feedbacks on her blog post, both positive or negative.

Purpose – The purpose of this paper is to explore how interior spaces can be differently represented across home magazines of different background and target audiences. And investigates how visual texts can differentiate a brand, increase brand loyalty and target different market segments. Design/methodology/approach – This paper draws on material for comparative analysis from three home magazines (Wallpaper, Ideal Home and Elle Decoration). It combines quantitative methods (content analysis) and qualitative methods (fieldwork observations). Findings – This research suggests that Wallpaper is not just a magazine, but it has expanded to become a brand with a well-recognized logo. Practitioners managed to create a strong brand through the creation of a magazine with a very distinctive style among its competitors that clearly address the elite. Research limitations/implications – This paper focused on the production of magazine features and representations of interior spaces. Further research could be conducted to explore how readers belonging to different economic, social and cultural groups “receive” and comprehend the home magazine features. Practical implications – The findings of this research could be used to analyse fashion photography in editorial, fashion advertising, fashion brand websites and social media, thereby assisting in the analysis of fashion photography and the relationship between fashion items, set design, styling of space, target audiences, branding and visual communication; exploring further how fashion photography can effectively target different market segments and enhance a fashion brand and its identity. Originality/value – The area of magazine features, photography, set design and styling of space has received limited attention from scholars. The method of analysing interior spaces/set design presented in this paper can be developed further to provide in depth analysis of window and in store display design and the use of display design and visual merchandising as a way to reflect the fashion brand identity, target-specific market segments, differentiate and gain competitive advantage.