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The purpose of this paper is to analyze how national stereotype, country of origin (COO), and fashion brand’s images influence consumers’ brand evaluations and purchase intentions regarding fashion collections. Korea (Seoul) and overseas (New York and Paris) collections are compared and analyzed.

The authors conduct a structural equation modeling and multi-group analysis using data collected from Seoul, New York, and Paris.

Consumers make higher brand evaluations and ultimately have stronger purchase intentions toward fashion collections from countries that have stronger COO and fashion brand images. In the context of fashion collections, COO image is greatly influenced by a nation’s political economic and cultural artistic images. In addition, comparing the domestic Seoul fashion collection with New York and Paris collections reveals that a national stereotype images, COO images of fashion collection, and fashion brand’s images cause different brand evaluation and purchase intention.

The overarching value of the study is that it expands COO research, which has been limited to actual products. Also, the results provide a basic foundation for establishing marketing strategy based on COO image as a way to enhance the development and image of fashion collection.

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.

The process of fashion design varies between market segments, yet these variations have not yet been properly explored. This study aims to examine the fashion design process as practised at the mass-market level, as this is the most vibrant and the largest market segment in terms of production volumes and sales.

It is observed that 15 semi-structured interviews were conducted with mass-market fashion designers. Key activities of the mass-market design process were identified and a comparative analysis was conducted with the general design process.

The mass-market design process is found to prioritise profits rather than aesthetic aspects, with the buyer exercising more power than the designer. This hinders creativity, which, in turn, may impede a move towards more environmentally benign designs.

The clothing industry is responsible for high environmental impacts and many of these impacts arise through decisions made in the design stage. In particular, the mass-market for clothing because of its high volume of sales and fast throughput, accounts for a great deal of the impact. However, little is understood about the design process that is practised in the mass-fashion market. This paper fills the gap by developing a framework that describes the mass-market design process. Understanding the design process will enable progress to be made towards achieving the United Nations Sustainable Development Goal 12: Responsible Consumption and Production.

The purpose of this paper is to investigate how luxury Italian fashion companies manage the replenishment process, and how they leverage supply chain (SC) to be able to match supply and demand of fashion products.

Literature review was the first step performed; then, a case study research has been conducted in order to have a comprehensive view of the real context of luxury Italian fashion companies concerning merchandise planning and replenishment processes. After the sample was individuated, a questionnaire has guided the interviews and then data have been collected. Analysing data has concerned a primary case analysis and then cross-case patterns have been searched. Finally, several variables coherent to the aim of the study have been pinpointed and a framework has been designed.

The paper provides a characterization of the luxury Italian fashion industry concerning merchandise planning constraints and the replenishment processes. To guarantee the flexibility required to match supply and demand when there is a high percentage of seasonal products in the collection, companies leverage on both downstream and upstream SC alignment.

The enhancement of performance within the fashion SC is a topic not too much examined in depth, in particular referring to the luxury fashion companies and to the Italian context. Aligning upstream and downstream activities, information sharing between vendor and retailer and securing strategic alliances with the suppliers constitute important steps to reach flexibility and reactivity and to be in step with the market needs. The paper provides valuable insights to companies that are trying to decrease their lost sales and to increase their sell-out and customer service through a review of their SC processes.

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.

The purpose of this paper is to investigate the relationship between the fast fashion formula and the process of firm internationalization. Possible answers are sought to the following research question: does the fast fashion formula drive the internationalization process (driving the change), or does the internationalization process change the model (changing the model).

The paper presents and discusses the data collected during a ten‐year longitudinal case analysis of an Italian fast fashion company. Three main steps in the firm's international expansion are identified, and the firm's strategies for managing its fast model in each are then discussed.

The findings highlight how the process of internationalization has exerted pressure on the firm's business model. In particular, the case reveals that the company's international development has had a strong impact on three main components of its fast fashion model.

The paper contributes to previous work on fast fashion by focusing on the sustainability of such models during international expansion, a key theme which has to date received little attention in ongoing academic debate on the fast fashion phenomenon.

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.

This paper focuses on the analysis of fashion blog activity regarding brands under corporate crisis situations and discusses how these opinion leaders may be agents of corporate crisis management.

The authors analyzed four influential Portuguese fashion blogs regarding eight fashion brands that had experienced a corporate crisis situation. In total, five of the selected brands were mentioned in 2.846 posts of blog content, whose discourse was deeply analyzed.

The absence of express reference to brand crisis suggests that fashion bloggers tend to ignore these crisis events or divert the readers' attention to the brands' more positive aspects. This result opens the discussion whether fashion bloggers downplay corporate crisis in brand equity or whether it expresses strategies of brand crisis communication through digital influencers.

Though social media may be a source of negative word-of-mouth, social media influencers have been considered important partners of corporate crisis communication in particularly challenging times. Many studies have focused on the role of social media influencers in crisis management, but there was a dearth of research on the specific case of blogs. This study contributes to the understanding of fashion bloggers as agents of brand communication, particularly regarding crisis management and their role on brand activation and positive electronic word-of-mouth, even under crisis situations. This contribution paves the way for future research on whether this is a spontaneous phenomenon or the reflection of possible partnerships between companies and fashion bloggers for the management of corporate crisis situations in the context of fashion brands.

Preparing a collection is a costly process when compared with mass production. Although it is a short‐run process, there are high unit costs due to the need for ordering knitted or woven material, and making necessary preparations for print and stitch patterns. All of these factors increase the cost of collection samples. Because the amount of material to be used for the preparation of the collection is small, having the material knitted or woven, or having it dyed, if it is raw, is more expensive compared with mass production. However, if the company trusts its own collection and receives positive feedback from its customers, it may consider using the material for production and keep the orders at a high level, thus decreasing the unit price. The purpose of this study is to put forward methods of calculating expenses for preparing a collection and collection costs. It also presents a sample application using present‐day values to give a comparison of collection samples with mass production samples. This makes it possible to come up with the most profitable production techniques. For this purpose, 40 T‐shirt designs were made; of these, ten models with different production features were carefully selected. Production steps were classified and the cost for each step was then calculated. By adding the cost of each step together, unit model cost was found. The collection cost was determined in the same way. It has been observed that the costs increase according to the raw material, auxiliary equipment, accessories, side processes and labour.

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.