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By celebrating tourism destinations through cruise collections, luxury brands open to new influences. They may develop deeper connections with certain geographical areas, but may also challenge the quintessentially national dimension of luxury brand culture. The best example of synergies between a luxury fashion brand and tourism destinations are the Christian Dior cruise collections with Maria Grazia Chiuri at the helm. This chapter is to understand how cruise collections may enhance luxury fashion houses' brand culture through the connections they develop with tourism destinations. Further, the chapter assesses the extent to which destinations can benefit from the exposure provided by luxury fashion brands' cruise collections.

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.

The purpose of this paper is to examine the role that fashion played in the Cold War competition between the USA and the Soviet Union during the period from 1945 to 1959.

This paper begins by situating fashion within the larger American efforts of cultural diplomacy. It then examines the American and Soviet approaches to fashion. Finally, it focuses on the fashion show at the 1959 American National Exhibition in Moscow. This paper utilizes primary sources, including archival sources and period newspapers and magazines.

Both American and Soviet leaders tried to use fashion to embody the ideological values of each political and economic system. Both also acknowledged a “fashion gap”, whereby Americans enjoyed clear superiority thanks to a well-developed mass production system of ready-made, stylish clothing, that some termed the American Look. Americans hoped the fashion gap would demonstrate that only capitalism could provide women with an abundance of the necessary – but also desirable – consumer goods that enhanced their feminine beauty. Thus, fashion played an important part in the Cold War cultural struggle, in which American and Soviet women were key participants.

Much has been written about the Cold War cultural diplomacy, especially the Moscow exhibition, but fashion is often left out of the analyses. Meanwhile, both the American Look and Soviet efforts to create socialist fashion have been examined, but no work has been done to look at the two together to understand fashion’s larger implications for the Cold War.

How do cultural organizations handle the competing demands of isomorphism and differentiation? Strategic balance theory is a promising point of departure. Proponents argue that while isomorphism contributes to legitimacy, differentiation minimizes competition through innovation or niche control. However, most research has focused on successful cases of optimal performance in core or world cities. I introduce data from three seasons (250+ hours) of ethnographic research on fashion weeks in both a core city and semi-peripheral city. I find that geography acts as a structural barrier to competition: while semi-peripheral producers pursue some standards of fashion capitals in world cities, they cannot compete on the basis of style. Rather than optimizing through strategic balance, cultural organizations embrace a double edge of legitimation. Their sub-optimal vision of organizational survival cultivates legitimacy from available but symbolically polluting sources. Imperfect imitation is suggested instead as a viable legitimation strategy. I call for more attention to semi-peripheral geography and imperfect imitation in culture industry research.

This paper aims to reconstruct the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War.

The paper reconstructs the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War.

The successful debut of Italian fashion in the fifties can be explained through an intelligent marketing campaign which placed it directly in the centre of a well-known, appreciated, not to say indisputable, tradition of “good taste”: that of the Renaissance. Connecting Italian fashion with Renaissance Italy meant in fact introducing a kind of ante litteram guarantee of provenance – a “country branding” - recognized throughout the world, which, at the same time, evoked the splendour of a period in which Italian taste was a model to follow and imitate.

The studies on the history of the Italian fashion business have accepted the association of Italian fashion with Renaissance tradition as an element to be taken for granted, without inquiring into the historical legitimacy of such a coupling (either in the way in which it was produced or why it had such an important role). This paper dismantles the consistent rhetorical sedimentation with which the subject is encrusted and provides a new insight, showing that such continuity did not exist; on the contrary, it was the product of a marketing strategy.

This study investigates the effect of consumers' brand attitude changes according to the fashion film type. Furthermore, it examines the psychological mechanism by engagement and consumer fantasy proneness. This study is meaningful because it provides a more in-depth understanding of the use of fashion film as a means of consumer-oriented persuasion communication.

This research uses a 2(fashion film type: narrative vs non-narrative) × 2(consumer fantasy proneness: high vs low) mixed factorial design to test the hypotheses. ANOVA and the PROCESS macro mounted on SPSS was used to test hypotheses.

The group with high consumer fantasy proneness showed more changes in brand attitude when exposed to non-narrative than narrative fashion films, but the group with low consumer fantasy proneness showed no significant difference in brand attitude change according to the fashion film type. In addition, when consumer fantasy proneness is high, media and brand engagement for non-narrative fashion films increase sequentially, resulting in a greater change in brand attitude, whereas these psychological mechanisms do not work in groups with low consumer fantasy proneness.

Fashion brands should identify their respective target group when producing fashion films and choose differentiated narrative forms. In the case of pursuing a fantastic aesthetic value, the non-narrative type induces more attention and curiosity from consumers than the narrative type, which affects the feeling of a special bond or relevance with the brand.

This study has value in that it demonstrates the rationale for why a fashion brand needs to select a differentiated content structure according to the aesthetic value pursued when making a fashion film in branding work.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.

Brand centrality is a religion-like brand–customer relationship, which refers to the extent to which a brand is in the center or heart of a consumer’s life. While its role in the fast fashion industry is prominent, its drivers and effects have not been comprehensively studied. This study aims to investigate the relationships between three psychological drivers (i.e. fashion-conscious, chronic shopping orientation and self-esteem), one behavioral driver (i.e. the average frequency of shopping), brand centrality and relationship quality in the fast fashion industry.

A survey of 250 fast fashion consumers was conducted and partial least squares-structural equation modeling (PLS-SEM) was used to analyze the data.

The study shows that fashion consciousness and chronic shopping orientation are positively related to brand centrality, whereas self-esteem is negatively related to brand centrality. The findings also show that shopping frequency moderates the relationship between fashion consciousness and brand centrality, and between chronic shopping orientation and brand centrality. Post hoc analysis indicates that brand centrality fully mediates the relationship between chronic shopping orientation and relationship quality.

This study is one of the first studies to investigate the psychological and behavioral drivers of brand centrality.

La centralidad de la marca es una relación religiosa entre marca y cliente que se refiere al grado en que una marca está en el centro o corazón de la vida de un consumidor. Aunque su papel en la industria de la moda rápida es destacado, sus impulsores y efectos no se han estudiado exhaustivamente. El presente estudio investiga las relaciones entre tres impulsores psicológicos (la conciencia de la moda, la orientación a las compras crónicas y la autoestima), un impulsor conductual (la frecuencia media de las compras), la centralidad de la marca y la calidad de las relaciones en el sector de la moda rápida.

Se realizó una encuesta a 250 consumidores de moda rápida y se utilizó (PLS-SEM) para analizar los datos.

El estudio muestra que la conciencia de la moda y la orientación a las compras crónicas están positivamente relacionadas con la centralidad de marca, mientras que la autoestima está negativamente relacionada con la centralidad de marca. Los resultados también muestran que la frecuencia de compra modera la relación entre la conciencia de la moda y la centralidad de marca, y entre la orientación de compra crónica y la centralidad de marca. El análisis post-hoc indica que la centralidad de la marca media totalmente la relación entre la orientación a las compras crónicas y la calidad de las relaciones.

Este estudio es uno de los primeros en investigar los impulsores psicológicos y conductuales de la centralidad de marca.

品牌中心性是一种类似于宗教的品牌-客户关系, 指的是一个品牌在消费者生活中处于中心或核心的程度。虽然它在快速时尚行业中的作用很突出, 但它的驱动和影响还没有得到全面的研究。本研究调查了三个心理驱动因素（即时尚意识、长期购物取向和自尊心）、一个行为驱动因素（即平均购物频率）、品牌中心性和快时尚行业的关系质量之间的关系。

对250名快时尚消费者进行了调查, 并使用部分最小二乘法-结构方程模型（PLS-SEM）来分析数据。

研究表明, 时尚意识和长期购物取向与品牌中心性呈正相关, 而自尊心与品牌中心性呈负相关。研究结果还显示, 购物频率分别调节了时尚意识以及长期购物导向对品牌中心性的影响。事后分析表明, 品牌中心性在长期购物取向和关系质量之间具有完全中介作用。

本研究是最早研究品牌中心性的心理和行为驱动因素的研究之一。

This paper presents two separate empirical investigations of a new conceptual model of fashion – the “fashion transformation process model” presented in part 1 (this issue). One important strand of that model is the role played by individual wearers in the transformation of fashion. This level is defined as the micro‐subjective level. There are two important forces that operate at this level – known as the “differentiating” and “socialising” forces. In the first study, 300 people were given questionnaires that considered a whole variety of fashion aspects, and also included a tool to distinguish between four types of consumers: fashion innovators, early fashion adopters, fashion followers and laggards. The results clearly confirmed these classifications and, importantly, confirmed the dominance of the differentiating force on fashion choices for “innovators”, and the socialising force for “followers” and “laggards”.The second study, involving interviewing 40 females, was concerned to investigate how new fashions might be adopted. The innovators were, again, shown to be motivated by quite different forces to fashion followers, in the choices they made. The study confirms an important aspect of the new conceptual model – the micro‐subjective level forces. The dynamic role played by the individual also shows why fashion has to be continuously innovative and what forces operate to ensure primary markets respond to the majority of wearers.

Based on the developed personal pleasure fashion design model (PPFDM), the authors have developed six fashion trend alternatives. The purpose of this paper is to use the fuzzy multiple criteria decision making (MCDM) to select the best fashion trend alternative.

To rationalize uncertainty associated with fuzzy, the fuzzy analytic hierarchy process (fuzzy AHP) is proposed in this work to calculate the weight for the criteria. The synthetic evaluation is used to calculate the score for each criterion from the best non‐fuzzy performance (BNP) values and the weight of the criterion. The scores for each criterion are summed up to rank the importance of the alternatives.

The results show that the preferred trend of the alternatives is in the order of Romantic hippy, followed by Greek goddess, then Black knight, Urban punk, Country yappy, and Sporty academy. The multiple dimension scale (MDS) is used to visualize the preferred fashion trend alternatives; it reveals that the preference image goes from romantic to urban, to country, and finally to sporty.

The paper offers important criteria for the selection of fashion trend alternatives. The calculation examples provide insight into the complicated fuzzy AHP and MDS methods to clarify each step in fuzzy MCDM. This study, through using MDS, uncovers that material‐oriented consumers will purchase products or brands that are congruent with their inner femininity desire to create their personal identity and self‐image. Moreover, the developed framework has proven to be useful in improving the quality of fashion design decision.