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The study aims to explore the digital fashion trend within the Metaverse, characterized by non-fungible tokens (NFTs), across Twitter networks. Integrating theories of diffusion of innovation, two-step flow of communication and self-efficacy, the authors aimed to uncover the diffusion structure and the influencer's social roles undertaken by social entities in fostering communication and collaboration for the advancement of Metaverse fashion.

Social network analysis examined the critical graph metrics to profile, visualize, and cluster the unstructured network data. The authors used the NodeXL program to analyze two hashtag keyword networks, “#metaverse fashion” and “#metawear,” using Twitter API data. Cluster, semantic, and time series analyses were performed to visualize the contents and contexts of communication and collaboration in the diffusion of Metaverse fashion.

The results unraveled the “broadcast network” structure and the influencers' social roles of opinion leaders and market mavens within Twitter's “#metaverse fashion” diffusion. The roles of innovators and early adopters among influencers were comparable in collaborating within the competition venues, promoting awareness and participation in digital fashion diffusion during specific “fad” periods, particularly when digital fashion NFTs and cryptocurrencies became intertwined with the competition in the Metaverse.

The study contributed to theory building by integrating three theories, emphasizing effective communication and collaboration among influencers, organizations, and competition venues in broadcasting digital fashion within shared networks. The validation of multi-faceted Social Network Analysis was crucial for timely insights, highlighting the critical digital fashion equity in capturing consumers' attention and driving engagement and ownership of Metaverse fashion.

This study aims to conduct an exploratory research to find out the evolving constructs and variables of digital literacy, as seen by researchers since its inception. This research also includes an empirical study to identify and further analyze the digital literacy dimensions of university students studying fashion design program in Kolkata, India.

The exploratory study is based on a review of extant literature, whereas the empirical study is carried out through a self-assessment survey based on UNESCOs Digital Literacy Global Framework competences after validating their relevance with respect to the fashion and apparel industry. A total of 120 university students studying four years Bachelor of Design (Fashion Design) program were asked to rate their digital literacy competences on a five-point Likert scale, with a self-reported truth response against each statement. The results were analyzed using multivariate statistical tools.

Based on UNESCO competences, it came out that there are eight digital literacy dimensions. ANOVA further confirms that the dimensions requiring higher-order cognition, such as “software management competence” and “digital citizenship competence,” increase with progress in the graduate program. However, lower-order competence dimensions remained unchanged over time.

The research instrument used for this empirical study, its identified dimensions and the fact that higher-order competence dimensions are enhanced with progression in university education may be helpful for similar research in other fashion-related programs.

Digital innovation and circular business model innovation are two critical enablers of a circular economy. A wide variety of digital technologies such as blockchain, 3D printing, cyber-physical systems, or big data also diverges the applications of digital technologies in circular business models. Given heterogeneous attributes of circular business models and digital technologies, the selections of digital technologies and circular business models might be highly distinctive within and between sectorial contexts. This paper examines digital circular business models in the context of the fashion industry and its multiple actors. This industry as the world’s second polluting industry requires an urgent circular economy (CE) transition with less resource consumption, lower waste emissions and a more stable economy.

An inductive, exploratory multiple-case study method is employed to investigate the ten cases of different sized fashion companies (i.e. large, small medium-sized firm (SME) and startup firms). The comparison across cases is conducted to understand fashion firms' distinct behaviours in adopting various digital circular economy strategies.

The paper presents three archetypes of digital-based circular business models in the fashion industry: the blockchain-based supply chain model, the service-based model and the pull demand-driven model. Besides incremental innovations, the radical business model and digital innovations as presented in the pull demand-driven model may be crucial to the fashion circular economy transition. The pull demand–driven model may shift the economy from scales to scopes, change the whole process of how the fashion items are forecasted, produced, and used, and reform consumer behaviours. The paths of adopting digital fashion circular business models are also different among large, SMEs and startup fashion firms.

The study provides business managers with empirical insights on how circular business models (CBMs) should be chosen according to intrinsic business capacities, technological competences and CE strategies. The emerging trends of new fashion markets (e.g. rental, subscription) and consumers' sustainable awareness should be not be neglected. Moreover, besides adopting recycling and reuse strategies, large fashion incumbents consider collaborating with other technology suppliers and startup companies to incubate more radical innovations.

Appropriate policies and regulations should be enacted to enable the digital CE transition. Market patterns and consumer acceptances are considered highly challenging to these digital fashion models. A balanced policy on both the demand and supply sides are suggested. The one-side policy may fail CBMs that entail an upside-down collaboration of both producers and consumers. Moreover, it is perhaps time to rethink how to reduce unnecessary new demand rather than repeatedly producing and recycling.

The pace of CE research is lagging far behind the accelerating environmental contamination by the fashion industry. The study aims to narrow the gap between theory and practice to harmonise fashion firms' orchestration and accelerate the transition of the fashion industry towards the CE. This study examines diverse types of digital technologies in different circular business models in a homogeneous context of the fashion industry with heterogeneous firm types.

As the areas of fashion marketing are transforming, fashion show research needs to be recognised, to understand its prevalence, changing form and influence on the consumer behaviour. The paper studied the promotion strategies for the brand and products of fashion designers in Bahrain, in particular the fashion shows, its digital versions, and the factors influencing their choice. The study was conducted using the qualitative method and the detailed semi-structured qualitative interview method was employed and sample of designers and a prominent modeling agency were selected by purposive sampling technique. In-depth interviews with designers were structured to understand the fashion industry, participation in fashion shows and preference of mode of fashion show. Interviews were conducted with the modeling agency, to understand the prevalence of fashion shows, and the execution and demand of organising fashion shows. The data gathered were supported by the relevant secondary data and document analysis and presented. In the study both the forms of the fashion show viz., live and digital are discussed and compared. The digital fashion show and similar forms as short films, videos, on social media seem to be more promising, with minimum requirement of set design, wider reach, economic, ease of execution. The research suggests that physical and digital fashion shows have their advantages and disadvantages, with the choice ultimately based on the brand's goals and resources. As technology advances and the fashion industry changes, digital fashion shows are likely to play an increasingly important role in the future.

By considering the role of technology in museum archives and exhibitions, as well as company archives and production, this paper aims to present that digital technologies offer new approaches and tools to consider fashion know-how, traditions and memories.

Through an extensive literature review and a close consideration of multiple sources, this paper analyzes fashion, tradition and knowledge creation through the lens of museum and company archives. A section on museum archives analyzes the role of fashion in the museum and the use of technology in cataloging, online resources and exhibitions for knowledge transfer of fashion history. The second half of the paper considers the relationship between heritage, company archives and technology in branding and consumer engagement.

The paper summarizes recent scholarship in the fields of fashion archives and demonstrates the still current importance of heritage in generating new design and exhibition practices. Despite having its roots in the past, heritage demonstrates continuity with the present and looks to the future with the same devotion and commitment, thus guaranteeing quality and authenticity for both museum collections and company productions.

Through a case study methodology, this paper presents how digital technologies can offer new approaches and tools in museum archives and exhibitions, as well as in company archives and collection development, to reconsider and translate fashion know-how, traditions and memories in the digital era.

Digital markets are increasingly constructed by an interplay between (non)human market actors, i.e. through algorithms, but, simultaneously, fragmented through platformization. This study aims to explore how interactional dynamics between (non)human market actors co-codify markets through expressive and networked content across social media platforms.

This study applies digital methods as cross-platform analysis to analyze two data sets retrieved from YouTube and Instagram using the keywords “sustainable fashion” and #sustainablefashion, respectively.

The study shows how interactional dynamics between (non)human market actors, co-codify markets across two social media platforms, i.e. YouTube and Instagram. The authors introduce the notion of sticky market webs of connection, illustrating how these dynamics foster cross-platform market codification through relations of exteriority.

Research implications highlight the necessity to account for all involved entities, including digital infrastructure in digital markets and the methodological potential of cross-platform analyses.

Practical implications highlight considerations managers should take into account when designing market communication for digital markets composed of (non)human market actors.

Social implications highlight the possible effects of (non)human market co-codification on markets and consumer culture, and corresponding countermeasures.

This study contributes to an increased understanding of digital market dynamics by illuminating interdependent market co-codification dynamics between (non)human market actors, and how these dynamics (de)territorialize digital market assemblages through relations of exteriority across platforms.

The purpose of this paper is to explore the key features of fashion rental from a business model perspective with a focus on the role played by digital platforms.

A qualitative research design was used based on multiple case studies of three Italian fashion rental enterprises.

The findings reveal the key aspects characterizing fashion rental business models and the centrality of digital platforms in value creation, configuration and capture activities. The study also found that fashion rental platforms are likely to exhibit further successful development in the future.

The academic literature on fashion rental has been mainly focussed on examining consumers' motivations and concerns, paying little attention to the enterprise's viewpoint. To date, no previous study has examined fashion rental business models from the retailer's perspective. This paper is the first to explore the key components of fashion rental business models and how digital platforms influence them from the perspective of retailers. The originality of the study is further strengthened by the unique context of analysis, namely, Italy, a leading country for global fashion.

The state of interactive digital technology is evolving rapidly and has shifted the ways in which customers shop dramatically. This trend heightens the need for research that examines the latest interactive digital technology tools adopted in fashion retailing. In response, the purpose of this paper was to examine fashion retailers’ incorporation of new interactive digital technology – in both online and offline retailing formats, and including new hybrid contexts – and its results in providing new experiential quality that contributes strongly to engage with customers.

The paper first reviews the literature and then proposes the research questions. This is followed by exploratory substantiation of those propositions with the findings from case studies that examined the new interactive digital technology implemented by six leading fashion retailers.

Various digital technology tools implemented in brick-to-click, click-to-brick and brick-and-mortar retailing offer customers a variety of experiential qualities that allow them to co-create products, engage in emotion-driven sensational and personalized shopping experiences and seamless shopping virtually, all of which derive from interactive digital technology implemented to enhance customer engagement.

This research examined the implementation of interactive digital technologies across the full spectrum of the fashion retail settings above. This paper makes an original contribution by adopting a customer-centric perspective and assessing the advantages technology provides to customer’s engagement quality in shopping, which differs from the traditional firm-centric perspective that views technology as a way to innovate retailers’ operations.

The purpose of this paper is to show how 3D digital technology can bring value to the fashion industry by analysing the specific benefits it offers along the value chain. Additionally, the authors show some of the challenges ahead identified for both software and fashion firms.

The authors present by means of a case study the experience of an haute couture designer who used 3D digital technology – in collaboration with a recognised 3D software company – for developing his first luxury footwear collection.

The enhancement of creativity and a better communication with suppliers are just some of the benefits identified in the case study from the use of 3D digital technology. In addition, challenges such as the development of a digital culture or the need for technology simplification are drawn from the case.

Apart from the benefits and challenges drawn from the case study, which can be useful to practitioners in this industry, the authors also identify the collaboration through which the experience took place as an interesting practice to implement as a previous step of a digital transformation strategy.

Despite the growing interest the fashion industry is showing in the use of new digital technologies, academic research on this topic is still scarce. Therefore, the case study presented in this paper adds value to the literature showing how 3D technology can help fashion from concept to consumer.

This study aims to explore passionate labour in the fashion blogosphere and addresses two research questions: How does passion animate passionate labour? How does the emotion of passions and the discipline of labour fuse within passionate labour?

This study presents a three-year netnographic fieldwork of replikate fashion blogger-preneurs. Data are based on in-depth interviews, blogs, social media posts and informed by the relationships developed across these platforms.

Throughout the findings, this study unpacks the “little passions” that animate the passionate labour of blogger-preneurs. Passions include: passion for performing the royal lifestyle, the mobilisation of passion within strategic sociality and transformation and self-renewal through blogging. Lastly, the cycle of passion illustrates how passions can be recycled into new passionate projects.

This study offers insight on how passionate labour requires the negotiation and mobilisation of emotion alongside a calculated understanding of market logics.

This study raises implications for aspiring blogger-preneurs, luxury brand managers and organisations beyond the blogging context.

The contribution of this study lies in the cultural understanding of passion as a form of labour where passion has become a way of life. The theorisation of passionate labour contributes to existing research in three ways. First, this study identifies social mimesis as a driver of passionate labour and its links to class distinction. Second, it offers insight on how passionate labour requires the negotiation and mobilisation of emotion alongside a calculated understanding of market logics. Third, it advances critical debate around exploitation and inequality within digital labour by demonstrating how passion is unequally distributed.