Journal articles: 'Fashion communication'

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EVANS, C. "Fashion as Communication." Journal of Design History 10, no. 2 (January 1, 1997): 231–33. http://dx.doi.org/10.1093/jdh/10.2.231.

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Kaiser, Susan B., Malcolm Barnard, and Ruth P. Rubinstein. "Fashion as Communication." Contemporary Sociology 27, no. 1 (January 1998): 76. http://dx.doi.org/10.2307/2654733.

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Barnard, Malcolm. "Fashion as communication revisited." Popular Communication 18, no. 4 (October 1, 2020): 259–71. http://dx.doi.org/10.1080/15405702.2020.1844888.

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Afanasieva, Olga V. "Fashion in Postmodern Political Communication." Almanac “Essays on Conservatism” 35.5 (October 16, 2021): 156–66. http://dx.doi.org/10.24030/24092517-2021-0-3-156-166.

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The goal of this article is to try to reach theoretical comprehension of the political fashion phenomenon. Conceptualization of fashion as an effect of mass communication allows one to see in it not only a phenomenon of pop culture but also an immanent side, and at the same time the main social, psychological and mental risk of the progress, – the accelerating humanity evolution. The article shows how modern values – novelty priority, truth accessibility, individualism, – and mass communications progress maximize the potential and danger of mass mental enthusiasm in political sphere. The author substantiates the following conclusion: political fashion in the communication mental context of postmodern appears to be the manifestation and factor the increasing crisis of social structure.

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Esteban-Santos, Laura, Irene García Medina, Lindsey Carey, and Elena Bellido-Pérez. "Fashion bloggers: communication tools for the fashion industry." Journal of Fashion Marketing and Management: An International Journal 22, no. 3 (July 9, 2018): 420–37. http://dx.doi.org/10.1108/jfmm-10-2017-0101.

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Purpose The purpose of this paper is to investigate fashion blogs’ influence on Spanish Millennials’ buying behaviour. Design/methodology/approach This research is quantitative in nature, utilising a mono method consisting of structured self-administered questionnaires. Data were exported to IBM SPSS Statistics, where different types of analyses were combined – such as frequencies, means, hypothesis testing analyses, principal components analysis or K-means cluster. Findings Findings show that the most important motivations to follow a fashion blog are entertainment and information seeking. Besides, consumers’ attitudes seem to be influenced by how consumers assess credibility, which is determined by trustworthiness, para-social interaction (PSI), expertise and message credibility. Finally, after showing covert and overt marketing posts, both trustworthiness and PSI were lower than before, identifying PSI as a possible moderator in these cases. Research limitations/implications The main limitation of this study is the sample size, which does not make it possible to generalise conclusions. Practical implications From this research, it can be said that, due to the importance of establishing a strong relationship with the public, bloggers should try to connect with readers on an emotional level, and brands need to select bloggers very carefully. Originality/value This paper reveals Millennials’ attitudes whilst they are visiting a fashion blog and the influence that these attitudes can exercise on their purchase intention.

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Mickevičiūtė, Akvilė, and Daiva Siudikienė. "The Role of Fashion Bloggers in Fashion Marketing Communication." Informacijos mokslai 85 (October 28, 2019): 8–23. http://dx.doi.org/10.15388/im.2019.85.15.

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Because of digitization and internet development that took place in the 21st century, fashion industry has been consistently encountering various challenges. While the popularity of social media continues to grow, a new player in fashion industry, along with the medium they control, has emerged – the fashion blogger and the fashion blog. After gaining millions of followers on social media, bloggers acquired a certain power position – they can influence the opinion of their audience. With the popularity of social media, fashion bloggers, who gain a certain position of power through the acquisition of large numbers of followers across social networks, can shape their followers’ opinions, present a variety of fashion product reviews, and participate in the consumer decision-making processes. For fashion companies, collaborations with bloggers are becoming more relevant and an increasing part of a fashion brand marketing strategy. This article introduces theoretical and empirical research that was carried out to analyze and explore the role of fashion bloggers in modern fashion marketing communication. Fashion companies seek to exploit this advantage for commercial purposes and include blogs as advertising channels into their marketing strategy. This article aims to analyze the role of blogs in the modern fashion industry. In order to reach that, the following objectives were set: to research the attributes of the fashion industry and fashion marketing in the 21st century; to analyze the definition, features, types, and significance of fashion blogs with reference to the current fashion industry; to examine the aspects of connection forming between fashion blogger and its audience; to explore the features of Lithuania’s fashion bloggers’ activities and the strategies they use to develop their ties with significant target audiences of the fashion sector. In order to reach the aim of research, two empirical research methods were combined: semi-structured interviews with fashion bloggers and a questionnaire for the followers of fashion blogs. During the study it was established that the role of Lithuania’s fashion blogs is best seen in fashion marketing – blogs are the mediators between fashion companies and consumers. They form a personal bond with consumers and organically disseminate fashion trends to a wide audience.

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Odintsov, A. A., and O. V. Odintsova. "About Tools for Management of Fashion and Fashion Communication." RUDN Journal of Psychology and Pedagogics 15, no. 4 (2018): 446–57. http://dx.doi.org/10.22363/2313-1683-2018-15-4-446-457.

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Shin, Kristina. "Fashion as a communication tool." International Journal of Fashion Design, Technology and Education 6, no. 3 (November 2013): 131. http://dx.doi.org/10.1080/17543266.2013.852758.

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Pouillard, Véronique. "FASHION FOR ALL?" Journalism Studies 14, no. 5 (October 2013): 716–29. http://dx.doi.org/10.1080/1461670x.2013.810907.

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Amritha, B., and Kalyani Suresh. "Sustainability is the new black: Exploring website communication practices of Indian sustainable fashion brands." Fashion, Style & Popular Culture 7, no. 4 (October 1, 2020): 539–58. http://dx.doi.org/10.1386/fspc_00042_1.

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Sustainable fashion brands are increasingly facing the challenge of striking the right balance between prominence and transparency. The core theme of this article is to examine the strategic communication practices of successful Indian sustainable fashion brands ‐ specifically how they build their value profile and message mix to achieve greater transparency in their website communication. A qualitative content analysis allows for an in-depth understanding of the brand’s communication strategy through semi-structured interviews with ‘informed consumers’ of sustainable fashion along with an exploration of brand communication on the corporate website. The analysis throws light on the importance of connecting fashion vs. sustainability message content and brand value profile to ensure transparency in communicating the brand’s engagement with sustainability.

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Tse, Ho Lun Tommy. "Fashion media communication in Hong Kong." International Journal of Fashion Design, Technology and Education 7, no. 2 (May 4, 2014): 66–74. http://dx.doi.org/10.1080/17543266.2014.921244.

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Кошлякова and Mariya Koshlyakova. "Socio-communicative Function Fashion." Modern Communication Studies 3, no. 5 (October 10, 2014): 52–55. http://dx.doi.org/10.12737/5747.

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In terms of the dominance of global processes fashion largely carries out communication between different social groups and cultural communities and is one of the key roles in the system of social communication, and mass media. The work identified a number of socio-communicative functions of fashion. The language of fashion nonverbal, visually oriented, largely symbolic. Expressive means are the fashion color and graphic symbols, and stylistic elements that create often ambiguous meanings and contexts. Fashion communication is presented as a complex associative links, external expressions of social personality characteristics that facilitate communication with other people and at the same time identifying features that differentiate them.

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DÍAZ SOLOAGA, Paloma. "Fashion films as a new communication format to build fashion brands." Communication & Society 29, no. 2 (April 10, 2016): 45–61. http://dx.doi.org/10.15581/003.29.2.45-61.

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장라윤 and Yang Sook-Hi. "21 Century Video Image Fashion Communication - Focusing on Prada Fashion Animation -." Research Journal of the Costume Culture 18, no. 6 (December 2010): 1318–30. http://dx.doi.org/10.29049/rjcc.2010.18.6.1318.

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Garrett, Maryhelen, and Kaycee Hale. "The international fashion video library: documenting the globalization of fashion for the future." Art Libraries Journal 13, no. 2 (1988): 17–20. http://dx.doi.org/10.1017/s0307472200005630.

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Fashion has been categorized as a global means of non-verbal communication, television has been classified as the medium with a global communications message, and videotapes are becoming a primary documentary format for both. The International Fashion Video Library (IFVL), located in Los Angeles and a division of the Fashion Institute of Design and Merchandising (FIDM) Museum and Library Foundation, is the world’s only fashion video library open to students, educators, scholars, industry, and the general public. Its purpose is to collect, organize, and preserve archival, contemporary, and futuristic videotapes which document the various facets of the fashion industry.

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Jee Hyun Lee and 이은혜. "Augmented Reality as an Emotional Communication media on Fashion Communication." Journal of Korea Design Forum ll, no. 32 (August 2011): 7–20. http://dx.doi.org/10.21326/ksdt.2011..32.001.

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Casagrande Dal Bello, Letícia, Murilo Scoz, Lucas Da Rosa, Icléia Silveira, and Sandra Regina Rech. "Fashion, Image, and Consumerism: fashion editorials as a communication strategy for brands." Modapalavra e-periódico 13, no. 30 (December 27, 2020): 94–117. http://dx.doi.org/10.5965/1982615x13302020094.

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This article aimed to address the theme of fashion editorials as a communication strategy and consumption for brands. Brings a general overview on consumption and fashion communication, as well as an explanation of what are editorials, how these are made and for what they serve. This article was based on the bibliography of several authors in order to clarify the area and the communicative potential of editorials for fashion brands.

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Oak, Arlene, and Julia Petrov. "Makeover media as fashion journalism: What Not To Wear, fashion, authority, and Gonzo subjectivity." Popular Communication 18, no. 4 (October 1, 2020): 313–26. http://dx.doi.org/10.1080/15405702.2020.1839079.

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Castaldo Lundén, Elizabeth. "Exploring Fashion as Communication: The Search for a new fashion history against the grain." Popular Communication 18, no. 4 (October 1, 2020): 249–58. http://dx.doi.org/10.1080/15405702.2020.1854952.

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Vehmas, Kaisa, Anne Raudaskoski, Pirjo Heikkilä, Ali Harlin, and Aino Mensonen. "Consumer attitudes and communication in circular fashion." Journal of Fashion Marketing and Management: An International Journal 22, no. 3 (July 9, 2018): 286–300. http://dx.doi.org/10.1108/jfmm-08-2017-0079.

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Purpose The purpose of this paper is to explore consumers’ views and expectations on circular clothing. This paper also clarifies how the remanufacturing process should be communicated and circular fashion marketed to consumers. Design/methodology/approach The research methodology consisted of consumer interviews, utilising an online innovation platform (Owela) to involve consumers and workshops with project partners and with external stakeholders. Findings Consumers’ interest towards recycling and sustainable solutions has increased. They appreciate the idea of recycling textile waste to produce new clothes; circular products should become “the new normal”. Consumers are asking for more visible and concrete information about circular clothing and how their behaviour has affected the environmental aspects of textile production. The communication should be timed correctly by using multiple communication channels and also paying attention to the shopping experience. In addition, digital services alongside circular clothing could create additional value for consumers. Research limitations/implications In this study, only consumers from Finland were involved. The results might be different in different parts of Europe and especially worldwide. Originality/value This study focusses on circular clothing – an area that has not been studied much before. Also, consumers involved in this study were of a different age compared to most of the previous studies, where the focus has been mainly on young college students.

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Lemon, Jennifer. "Fashion and style as non-verbal communication." Communicatio 16, no. 2 (January 1990): 19–26. http://dx.doi.org/10.1080/02500169008537718.

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Park, So Hyoung, and Eunhyuk Yim. "Analysis of fashion narrative by communication platforms." Research Journal of the Costume Culture 26, no. 6 (December 31, 2018): 994–1014. http://dx.doi.org/10.29049/rjcc.2018.26.6.994.

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Choi, Yongsoon, and Adrian David Cheok. "Multisensory fashion communication media towards impression management." International Journal of Arts and Technology 8, no. 4 (2015): 364. http://dx.doi.org/10.1504/ijart.2015.073584.

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Darwan, Arzi, Yanto Yanto, and Bayu Risdiyanto. "VISUAL WOMEN COMMUNICATION CAREER IN PHOTO FASHION." SENGKUNI Journal (Social Science and Humanities Studies) 1, no. 1 (April 24, 2020): 73–86. http://dx.doi.org/10.37638/sengkuni.1.1.73-86.

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This study aims to determine the how visual communication of career women in fashion photos on Instagram. This research is a qualitative descriptive study using data collection and analysis techniques through observation, interviews, and documentation. Presentation of data involves various steps to organize and process data a career woman (subject) in a fashion photo on instagram social media, so as all the data is analyzed thoroughly involved in a single unit. The existence of shared photos by the women's career in media instagram is a real form of visual communication from them and have specific purposes. Research results show that from several photos of women fashion career researchers set as the data to be analyzed by Researchers there are different meanings in each of the photo, but Researchers assume that this is a career woman Local Brand who is able to show themessages separate from each photo fashion up to date in their instagram social media.

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Sukmaaji, Nadya, and Sisca Eka Fitria. "Analysis Of Consumer Preferences For Marketing Communication Strategy On Sass And Co." Jurnal Ilmu Sosial Politik dan Humaniora 1, no. 1 (January 28, 2019): 1–8. http://dx.doi.org/10.36624/jisora.v1i1.17.

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The development of the creative industrial sector is able to contribute significantly to the national economy, one of which is fashion business. This is due to the phenomenon of fashion trends that gave birth to many business actors in the field of the fashion business. With so many fashion business players, fashion business competition will be more competitive that can impact on business success. One strategy that can be taken by business actors is product development, but according to modern marketing, it takes more than developing a product. Business actors need to apply various forms of communication in marketing so as to effectively reach and influence target markets through marketing communications strategies. Consumer preferences can be used to help the selection of the right marketing communications strategy as an effort to grab attention and influence the target market effectively in order to increase sales resultsThis study aims to determine consumer preferences of marketing communication strategy for Sass and Co. products. This study uses five marketing communication mix as variables or attributes and 16 sub-attributes. Sampling was done by Non-Probability Sampling method with a total of 400 respondents and using conjoint analysis technique. The results of this study show that the best combination of respondents is the marketing communication strategy using social media advertising, sales promotion by giving discounts, direct marketing through Shopee, word of mouth marketing using friend recommendation, and using personal sales through the offline store.

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Min, Seoha, Helen S. Koo, and Marilyn DeLong. "Differences of Information Management between Fashion Show Video and Fashion Film: Focusing on Cases of Chanel." Research Journal of Textile and Apparel 19, no. 1 (February 1, 2015): 73–83. http://dx.doi.org/10.1108/rjta-19-01-2015-b008.

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As media technology is developing, methods to present fashion products and communicate with audiences are also evolving. Designers and fashion brands are always on the lookout for more effective methods to deliver what designers intend through new products. The purpose of this research is to analyze different ways in which people perceive, cognize, and memorize the digital media of fashion show videos and fashion films in the communication process. Considering the difference in communication methods, this study is based on Shannon's communication model, Foulger's ecological model of the communication process, and Kopec's information management theory. In this research, Chanel's 2010 Cruise collection and fashion film, Remember Now, were used as content stimuli. The results indicate that there are significant differences between fashion shows and fashion films in terms of perception (p < .005), cognition (p < .005), and memorization (p < .005). This research will provide prospective methods for fashion designers and fashion firms to effectively deliver the latest fashion information to their audiences.

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Kim, Sun Young. "Aesthetic values of image fashion as fashion communication tool in the 21st century." Research Journal of the Costume Culture 21, no. 6 (December 31, 2013): 793–809. http://dx.doi.org/10.7741/rjcc.2013.21.6.793.

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sun young kim. "Aesthetic values of image fashion as fashion communication tool in the 21st century." Research Journal of the Costume Culture 21, no. 6 (December 2013): 793–809. http://dx.doi.org/10.29049/rjcc.2013.21.6.793.

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Earle, Kathryn. "The Berg Fashion Library." Learned Publishing 22, no. 1 (January 1, 2009): 27–35. http://dx.doi.org/10.1087/095315108x378758.

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Escobar-Rodríguez, Tomás, and Rocío Bonsón-Fernández. "Facebook practices for business communication among fashion retailers." Journal of Fashion Marketing and Management: An International Journal 21, no. 1 (March 13, 2017): 33–50. http://dx.doi.org/10.1108/jfmm-11-2015-0087.

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Purpose The present study examines relationship building of major players in fashion retailing through social media. Using the theories of word-of-mouth marketing and brand community as theoretical frameworks, this paper analyses the impact of social media marketing in creating brand community. To that end, the use of the popular networking site Facebook was studied. The purpose of this paper is to analyze the extent and main purposes of the usage of this communication channel and to examine companies’ activity on their Facebook pages as well as to observe their audiences and the effect in their audiences’ engagement. Additionally, this paper analyses the main type of content and the most commonly used type of media. Design/methodology/approach Research was based on a content analysis performed on 2,326 Facebook posts; a sample of 46 international leading companies in the fashion industry was analyzed in the time period between March 1 and May 31, 2015. Findings Facebook audience is positively related to retailer’s size. However, audiences in this sector are not related to the level of activity of the retailers’ Facebook pages. Audience engagement and participation in fashion retailer’s Facebook sites is higher in small retailers. The main content of the Facebook pages of top fashion retailers is marketing, photo albums and videos being the most popular drivers of this means. Originality/value No previous research analyzed fashion retailers use of Facebook sites. This study examines the variables size and engagement of fashion retailers’ audience on Facebook according to retailers’ size and activity on their corporate profiles.

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Gama, Maria Gabriela, and Kathia Castilho. "Introductory note: Discourses about fashion." Comunicação e Sociedade 24 (December 30, 2013): 15–24. http://dx.doi.org/10.17231/comsoc.24(2013).1771.

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Hong, Hye Rim, and Young In Kim. "Communication Characteristics of Fashion Shows Using Digital Images." Journal of the Korean Society of Costume 64, no. 6 (September 30, 2014): 1–15. http://dx.doi.org/10.7233/jksc.2014.64.6.001.

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Kang, Jun Ho, and Gi Young Kwon. "A Study on the Pataphor in Fashion Communication." Journal of Basic Design & Art 19, no. 4 (August 31, 2018): 1–12. http://dx.doi.org/10.47294/ksbda.19.4.1.

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Pfajfar, Gregor, Aviv Shoham, Nihat Anil, Ossi Pesämaa, and Maja Makovec Brenčič. "CROSS-CULTURAL COMMUNICATION THROUGH FASHION AND BRAND CONSCIOUSNESS." Global Fashion Management Conference 4, no. 7 (June 30, 2015): 572. http://dx.doi.org/10.15444/gfmc2015.04.07.03.

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Deodiya, Sangita, and Garima Upadhyay. "Hindi movies as a communication of fashion components." Mass Communicator: International Journal of Communication Studies 8, no. 2 (2014): 37. http://dx.doi.org/10.5958/0973-967x.2014.00224.5.

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Choi, Athena. "Social comparison in fashion blogging: “creative self” as the new genre in fashion communication." Journal of Fashion Marketing and Management: An International Journal 24, no. 4 (April 25, 2020): 651–65. http://dx.doi.org/10.1108/jfmm-07-2019-0140.

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PurposeThe purpose of this study is to draw on an inductive approach in exploring how the post-90s generation relates themselves with the others when browsing fashion images on social media. More specifically, this work explores how young fashion readers perceive the phenomenon of bloggers' self-modeling as a means of self-expression.Design/methodology/approachEight focus groups were conducted for 64 Hong Kong young fashion readers. Respondents were asked about their opinion on the fashion blogs, their preference toward bloggers' self-modeling phenomenon, and how they compare themselves with the self-modeling fashion bloggers.FindingsResults indicate that a tendency of social comparison occurred as readers indicated preference toward fashion bloggers who perform as self-modeling image producers, this supports the notion of social comparison that human nature tends to compare with others similar to themselves. This finding also suggests the critical awareness of young fashion readers, in which an ideal beauty is perceived as a successful result from a calculated visual creation, namely “the creative self”.Research limitations/implicationsThis study focus on a Hong Kong setting with Instagram as the key communication platform; future research would be benefited from a wider scope of study from an international perspective.Practical implicationsThis paper provides practical insight for fashion brands' strategic planners on how the fashion blogging works as a new genre of fashion communication. By understanding the fashion readers' preference, strategic planners could develop appropriate marketing communication strategy in response to the new trend of readers engaging in visual creative production for fashion.Originality/valueThis study reveals a new perspective in interpreting social comparison behavior for the fashion readers in the digital culture, whereas the targeted comparison attribute changed from ideal beauty to the creative self. This finding contributes to the discourse of academic theories in social media, social comparison and fashion communication.

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Tan, Kevin. "Audience Concern of Eco-Fashion by Fashion Revolution Indonesia Through Marketing Communication in Jakarta." Communicare : Journal of Communication Studies 5, no. 2 (January 16, 2019): 81. http://dx.doi.org/10.37535/101005220186.

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After Rana Plaza tragedy, Fashion Revolution has came to Indonesia on 2016, deliver the objective is to unite people work together to change the perspective about the clothes are sourced, produced and consumed. However, based on Fashion Revolution Indonesia statement, it is challenging to evoke consumer’s concern about eco-fashion. The concern problem of sustainable fashion remains until now. Simply, the consumers don’t care, trying to deny, blaming others and refuse to take responsibility. Fashion Revolution Indonesia needs to figure out another way to communicate with audience who originally doesn’t concern about eco-fashion in the first place. The goal of this research is to analyze Fashion Revolution Indonesia marketing communication implementation towards audience concern about eco-fashion. Using qualitative approach, which the researcher gathers the data. Social marketing is more difficult rather than commercial marketing, which prestige, exclusivity, design options, quality, and pricing are some of the commercial marketing elements cater what consumer likes. In the other hand, social marketing is focused on making attitude change for social cause and give up the addictive behavior. By conclusion, Fashion Revolution Indonesia must understand how the ecosystem works to do the marketing communication in social context from internal and external, because social change is a complex issue. From the way they communicate, the message, media to promote, the organization, campaigners and partners themselves, every single one of the elements are important to lead an impact of attitude change to the audience. Keywords: Eco-Fashion, Fast Fashion, Concern, Marketing Communication, Fashion Revolution

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장라윤 and Yang Sook-Hi. "Fashion Communication and Exhibition Project- Focused on Fashion Exhibition Design by Maison Martin Margiela -." Research Journal of the Costume Culture 19, no. 6 (December 2011): 1302–19. http://dx.doi.org/10.29049/rjcc.2011.19.6.1302.

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SanMiguel, Patricia, Silvia Pérez-Bou, Teresa Sádaba, and Pedro Mir-Bernal. "How to Communicate Sustainability: From the Corporate Web to E-Commerce. The Case of the Fashion Industry." Sustainability 13, no. 20 (October 14, 2021): 11363. http://dx.doi.org/10.3390/su132011363.

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Sustainability strategy at companies has become a key business and management aspect for the development and success of an enterprise. The communication of strategies and actions relating to sustainability has become increasingly important for both companies and brands. This research studies the communication process that forms part of the sustainable strategy of fashion companies, ranging from the corporate website to e-commerce, and it proposes improvements for sustainability communication. Two new models are presented: the Operational Model for Evaluating Fashion Corporate Websites (OMEFCW) and the Operational Model for Evaluating Fashion E-Commerce (OMEFeC), based on the core dimensions of online sustainability communication (orientation, structure, ergonomics and content—OSEC), as established by Siano. In order to obtain an optimal view of the fashion industry, four corporate groups—two luxury fashion groups (Kering Group and Moët Hennessy Louis Vuitton (LVMH)) and two fast fashion groups (H&M Group and Intidex)—are compared. In addition, all of the e-commerce operations of the groups’ fashion brands are analyzed, a total of 32 brands. The results show that it is necessary to continue improving in terms of the communication of sustainability within the fashion industry, whilst demonstrating the great deficiency that exists regarding the communication of sustainability in the case of the brands’ e-commerce operations, which are precisely the web pages most visited by consumers.

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Mensa, Marta, and Tao (Tony) Deng. "Luxury Fashion Brands and Consumers: Women are more sexualized by consumers than brands on Instagram." Tripodos, no. 50 (July 1, 2021): 17–35. http://dx.doi.org/10.51698/tripodos.2021.50p17-35.

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This study examines how luxury fashion brands and luxury fashion brand hashtags that consumers use in their posts portray women on Instagram. The study was framed by sexual objectification theory (physical presentation, body display, sexually suggestive poses, and feminine touch) and sexism stereotypes (women in traditional roles such as dependent, caretaker, decorative and sexual object). This study examines 700 Instagram posts, 350 from top luxury fashion brands, and 350 from consumers. Young and skinny women’s images dominate Instagram posts created by luxury fashion brands, while consumers are older and fit. Unexpected results show that luxury fashion brands feature women less sexually desirable, with less sexually suggestive poses and fewer sexist stereotypes than consumers.

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Skjulstad, Synne, and Andrew Morrison. "Fashion Film and Genre Ecology." Journal of Media Innovations 3, no. 2 (November 11, 2016): 30–51. http://dx.doi.org/10.5617/jmi.v3i2.2522.

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We analyse the challenges and changing character, production and consumption of the emerging genre fashion lm through a genre as ecology approach. This approach accounts for the complexity of various rhetorical practices used within the creative industries, such as fashion. We find that digital mediation compels genre innovation in networked cultures in the mediation of fashion. We examine three fashion films to ascertain how they function as cultural production within web- and mobile-based communication and networked articulations. These need to be understood as part of distributed, polyvocal and multimodally mediated digital branding and advertising strategies that have largely not been addressed as genre by media and communication studies. Genre ecology is proposed as an addition to typological and developmental models of (media) genre innovation.

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Rocamora, Agnès. "HYPERTEXTUALITY AND REMEDIATION IN THE FASHION MEDIA." Journalism Practice 6, no. 1 (February 2012): 92–106. http://dx.doi.org/10.1080/17512786.2011.622914.

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Tomovska, Elena. "The role of Instagram influencers as a source of fashion information." Tekstilna industrija 68, no. 4 (2020): 58–64. http://dx.doi.org/10.5937/tekstind2004058t.

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Social media has become a powerful communicating tool for the fashion industry, providing an instant, democratic, user-generated dissemination of fashion trends, particularly with the younger generations. Image-centred social media, such as Instagram are particularly well adopted for fashion communication. This research aims to investigate the role of Instagram on the dissemination of fashion trends amongst Generation Z. The research used an electronic questionnaire distributed to 120 participants, aged 16 to 23 years. A commercially available tool for measuring the reach of global and local fashion influencers was used to comprise a list of influencers used in the research. Cluster analysis was used to identify Instagram influencers impacting fashion and the use of Instagram as a fashion information channel.

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Alpat, Fatma Engin, and Yusuf Ziya Aksu. "Fashion as a Marketing Tool and Its Communication Aspect in Developing Markets." EMAJ: Emerging Markets Journal 3, no. 3 (March 5, 2014): 67–76. http://dx.doi.org/10.5195/emaj.2014.56.

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In this article the idenfication of a fashion product, its variability and the analyses of fashion as an industrial design will be discussed within the framework of fashion product marketing. The process of product creation is closely related to the economic, sociological and psychological factors considered, hence, sociologists and trend setters are working together because the concept of fashion product should be viewed as a determiner of status and power of a certain community. Each group within the community should be defined within a certain status and therefore each status corresponds to a relevant fashion concept. The survival of the fashion designers within the industrial sector could only be plausable if fashion is firstly analyzed conceptually and then applied separately to each group of the community.

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Ávila-Manín, Carmen, and Francisco Linares-Ales. "Vocabulary and fashion discourse." Comunicar 14, no. 27 (October 1, 2006): 35–41. http://dx.doi.org/10.3916/c27-2006-06.

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In the discourse of fashion the presentation and the evaluation of acts and objets are often mixed. Depaning from this assumption the present work investigates the lexical and pragmatical reasons that intensify the moral connotation of expressions about fashion and allow their use for persuasive means; at the same time this work also illustrates the importance of the familiarization with these expressions for education, both as communicative facts and as reasons for moral reflection. En el discurso de la moda se mezcla la constatación con la valoración de acciones y objetos. Partiendo de esta premisa el presente trabajo expone las razones léxicas y pragmático-comunicativas que intensifican la connotación moral de las expresiones sobre seguimiento de la moda y permiten su utilización con fines persuasivos; al mismo tiempo este trabajo también llama la atención sobre el interés que para la educación tiene el acercamiento a dichas expresiones en cuanto hechos comunicativos y en cuanto motivos de reflexión moral.

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Da Giau, Alessandro, Laura Macchion, Federico Caniato, Maria Caridi, Pamela Danese, Rinaldo Rinaldi, and Andrea Vinelli. "Sustainability practices and web-based communication." Journal of Fashion Marketing and Management 20, no. 1 (March 14, 2016): 72–88. http://dx.doi.org/10.1108/jfmm-07-2015-0061.

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Purpose – The purpose of this paper is to examine which environmental and social sustainability practices companies in the Italian fashion industry adopt and how these companies communicate their sustainability commitment through their corporate websites. Design/methodology/approach – The multiple case studies approach was selected and the practices of 12 companies in the Italian fashion industry were investigated. Findings – The findings showed that four different approaches in the field of sustainability practices and web-based communication are available within the Italian fashion industry (i.e. low commitment, high commitment, low disclosure, high marketing) by highlighting the alignment (i.e. fit or misfit) among these dimensions and by discussing the practices as well as the drivers/barriers of each approach. Originality/value – The paper contributes to the literature by deepening the understanding of both the environmental and social dimensions of the sustainability issue. Moreover, the work investigates the relationship between sustainability practices and web-based sustainability communication, a topic that has not yet been addressed in the current literature.

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Lai, Yiwei, and Milda Perminiene. "Embracing imperfection: contemporary fashion communication and consumer well-being." Journal of Fashion Marketing and Management: An International Journal 24, no. 4 (April 24, 2020): 685–703. http://dx.doi.org/10.1108/jfmm-03-2019-0040.

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PurposeFashion advertising as a contemporary ideological form has the power to deliver semiotic messages, which frames individuals' perception. Promoting perfection in consumer culture has resulted in the creation of unrealistic self-image and negative effects that led to psychological illnesses and pathological behaviours. The purpose of this paper is to investigate the ideology behind the contemporary fashion advertising that embraces imperfection and is linked to consumer subjective well-being.Design/methodology/approachNine fashion ads were selected based on the WGSN consumer report Embracing Imperfection. A sample of images was analysed applying semiotic analysis combined with the criteria of content analysis.FindingsThe results supported the notion that some contemporary fashion communication brands are challenging the conventional idea of perfection. Five themes were identified as the characteristics that bridged the visual surface of advertising with its hidden ideologies of imperfection. By supporting “anonymity”, fashion brand communication is against excessive self-focus and helps reducing anxiety due to being imperfect. By promoting “rawness”, it encourages authenticity and uniqueness. “Banality” rejects materialism and promotes the beauty of the boring day. “Ugliness” advocates for removal of the single standards and celebrate individual differences, and “spontaneity” is interchangeable for humanity, freedom, openness and acceptance of self.Originality/valueThis study is among the few attempts to conduct semiotic analysis of fashion advertising images aiming to identify the visual components and ideologies that could potentially be linked to subjective well-being in fashion communication.

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Salam, Muhammad Talha, Nazlida Muhamad, and Vai Shiem Leong. "Muslim millennials’ attitudes towards fashion advertising." International Journal of Advertising 38, no. 5 (July 4, 2019): 796–819. http://dx.doi.org/10.1080/02650487.2019.1585648.

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Kim, Hee young, and Ji soo Ha. "Communication of Tactile Experiences in Handcraft Decorations." Asian Culture and History 8, no. 2 (August 31, 2016): 167. http://dx.doi.org/10.5539/ach.v8n2p167.

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<p class="1Body">This article addresses the important role of tactile experiences in fashion design and consumption focusing on handcraft decorations through examining various experiences of consumers and designers in Korea. In-depth interviews are conducted based on the preliminary literature reviews and questionnaire survey and 20 general fashion consumers and 20 fashion designers participate in the interviews. Firstly, we check their recognitions about handcraft decorations on clothing, which are one of the most representative examples of handwork in fashion design. To find out what can be induced from tactile experiences of handcraft decorations, various pleasures with their handcraft decorated clothes are separately understood in two different situations of the process of making and touching. According to the designers’ interview result, it is possible to form a sympathetic relationship between designers and materials as communicating each other through the tactile experience as using hands. In this procedure, creators come to be immersed more into the work and feel the pleasure of labour. In the consumers’ cases, tactile observation as touching the handcraft decorations stimulus sensible pleasures exploring the materials and also makes them understand the creators’ endeavour and time investment on the decorated clothes and feel empathy to them.</p>

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Linfante, Vittorio, and Chiara Pompa. "How pornography saved fashion from boredom and improved its financial situation and vice versa: Communication technology overlaps between fashion and pornography." Fashion, Style & Popular Culture 00, no. 00 (December 26, 2021): 1–15. http://dx.doi.org/10.1386/fspc_00106_1.

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Fashion, eroticism and pornography, especially in recent years, have created different synergies that not only embrace the design of fashion products and collections, but have defined and define precise visual, photographic and cinematographic languages as well as communication strategies that have not only borrowed the language and aesthetics of pornography, but also communication models, tools and channels. Today, we have thus witnessed an increasing hybridization of languages and channels that have generated forms of communication (performative, editorial, cinematographic or digital). It is not easy to identify the limits between fashion and pornography and between private and public spheres. Through literature review and several case studies, the article aims to investigate the evolution of the relationship between fashion, pornography and mass communication from an aesthetic, performative and, last but not least, technological point of view.

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Journal articles on the topic 'Fashion communication'

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