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In “the century of culture,” a current drift is toward utilizing cultural heritage branding. Cultural heritage brand referred to in this study means a brand with value proposition based on cultural heritage. As Asian cultures are gathering global focus amid ongoing trend of exoticism and the growth of Asian economies, there is more opportunity especially for Asian brands to benefit from cultural heritage branding. Also, the advantages of cultural heritage branding can benefit fashion brands, considering that designs of great importance in fashion brand's competitiveness can earn creativity and originality from cultural heritage.

Therefore, this study (1) profiles cultural heritage fashion brands based on Asia: Japan, China, and Korea, (2) identifies components of cultural heritage fashion branding by comparative analysis, and (3) identifies characteristics in brand management strategy from the brands, and offer managerial implications for upcoming cultural heritage fashion brands.

This study adopts a case study approach that focuses on Asian fashion brands; Issey Miyake (Japan), Shanghai Tang (China), and Damyeon designed by Lee Hye Soon (Korea). The analytical contents of this research include general profiles (i.e., brand history, brand philosophy and concept, and BI and visual representation), cultural heritage perspectives and brand management perspective (i.e., product, price, place, promotion, and brand extension). Most of the information was retrieved from multiple sources including books, academic papers, brand's annual report, brand official website, news articles, etc.

Overall, this study shows cultural heritage fashion branding can be useful in distinctiveness in positioning and delivering brand value in depth, authenticity, and credibility for customers (Urde, 2007). The findings suggest some managerial as well as cultural heritage-related indications for upcoming cultural heritage fashion brands.

Although common components of cultural heritage fashion branding (i.e., utilization of traditional prototype, emphasis on traditional fabric, and preservation of traditional craftsmanship) were drawn out, achieving optimal balance between tradition and modernity was found critical as well. Managerial guidelines include foreign brand naming, premium pricing, art-related promotions, and extension for a total lifestyle brand. In further research, the type of industry and different country-of-origins can be applied in order to extensively study about the issue of cultural heritage branding.

Massive shifts in the recruitment landscape, the continually changing nature of work and workers, and extraordinary technological progress have combined to enable unparalleled advances in how current and prospective employees receive and process information about organizations. Once the domain of internal organizational public relations and human resources (HR) teams, most employment branding has moved beyond organizations’ control. This chapter provides a conceptual framework pertaining to third party employment branding, defined as communications, claims, or status-based classifications generated by parties outside of direct company control that shape, enhance, and differentiate organizations’ images as favorable or unfavorable employers. Specifically, the authors first theorize about the underlying mechanisms by which third party employment branding might signal prospective and current employees. Second, the authors develop a framework whereby we comprehensively review third party employment branding sources, thus identifying the different ways that third party employment branding might manifest. Third, using prototypical examples, the authors link the various signaling mechanisms to the various third party employment branding sources identified. Finally, the authors propose an ambitious future research agenda that considers not only the positive aspects of third party employment branding but also potential “dark sides.” Thus, the authors view this chapter as contributing to the broader employment branding literature, which should enhance scholarly endeavors to study it and practitioner efforts to leverage it.

This chapter concerns itself with a garment factory in Trinidad, West Indies, producing brand-name clothing for the Eastern Caribbean market. Workers in this factory not only stitch garments for an hourly wage; but also stealthily operate a secondary assembly line, creating precise duplicates of the factory's products for themselves to take home and wear. Manufactured on the shop-floor alongside “legitimate” production, the copied garments are identical in every way to the genuine ones they mimic. In this chapter, I argue that workers have created a “loop” in the value chain: a simultaneous moment in which they are both producers and consumers of the factory's products. While “genuine” garments circulate through market-capitalist networks of exchange, copied garments only circulate through social networks – thereby accruing and representing forms of “value” that are distinct from market value. By looping the value chain, factory workers create non-market values alongside market-oriented ones, showing both sets of values to be interdependent. Workers’ own commentary on these processes offers a unique window onto contested meanings of “value” at work on the shop-floor.

In job advertisements, companies present claims about their organizational identity. My study explores how employers use multimodality in visuals and verbal text to construct organizational identity claims and address potential future employees. Drawing on a multimodal analysis of job advertisements used by German fashion companies between 1968 and 2013, I identify three types of job advertisements and analyze their content and latent meanings. I find three specific relationships between identity claims’ verbal and visual dimensions that also influence viewers’ attraction to, perception of the legitimacy of, and identification with organizations. My study contributes to research on multimodality and on organizational identity claims.

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 highlights that the strategic use of design, a competitive pattern typically associated with creative industries, those creating and trading meanings, also characterizes industries that produce functional or utilitarian goods not typically considered creative. The paper explores the origins of this phenomenon in the context of three industry settings: cars, speciality coffee and personal computers. The analysis theorizes three distinct strategic paths that explain how design may become an institutionalized aspect of competition in industries that are not creative. We explain how firms link their products to the identities of their users, how design is linked to stakeholders' emotions and visceral reactions to products and how intermediaries are relevant to enhancing attention to design. Illuminating these strategic paths allows harnessing some of the well-established understandings about competition in creative industries towards understanding competition in noncreative industries.

Purpose – This interpretive study aims to demonstrate how dialectics might hamper researchers' imagination, inspiration, and insight that can otherwise enhance the understanding of a variety of phenomena in consumer-market dynamics and subsequently propose Foucauldian genealogy as an alternative to theorize such dynamics in the current consumer culture.

Methodology/approach – An ethonographic field study is conducted in the context of X Games, followed by an empirical juxtaposition of semiotic square, as a dialectical analysis, and a genealogical analysis of the same textual data.

Findings – Consumer-market dynamics operate based on interactions and mutual facilitations among four theoretically and empirically distinct groups of consumers in the context of X Games: pragmatic, stigmatized, distinction-oriented, and self-normalizing consumers. The historic conflict between consumers and the market steeped in Hegelian dialectics is contested in the dynamics due to the switch of modes(arts) of being(consumption) made by individual consumers who respectively participate in the system through presentation and representation.

Implications – A multitude of reality/truth-making is present in the consumer-market dynamics; thus, the dialectical view of the systematic progression of the market is found to be less implicative than the genealogical view of the system as polyvalent power relations.

Research on consumer innovativeness has been studied in the field of marketing during the past decade, in that it has become critical to firms and businesses introducing new products. Yet as the literature concerning innovativeness in the hospitality sector is extremely limited, the purpose of this study is to better conceptualize and understand innovativeness in the hospitality sector (e.g., hotel, restaurant & bar, food & beverage, and occupational training). Using a qualitative method, personal interviews have been collected in this study from local hospitality managers and data are analyzed by constant comparative analysis. Eight themes emerge from the interview data: (1) novelty seeking, (2) eagerness, (3) vigilance, (4) openness, (5) venturesome, (6) hedonism, (7) value seeking, and (8) social distinctiveness. These intrinsic characteristics capture the concept of innovativeness in a broader range within different perspectives. The resultant data could therefore be utilized in future research to evaluate the level of awareness and use of perceived innovativeness in consumer behavior research and business marketing.