Search results

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 explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.

The Fashion Design Podcast Initiative educated students about podcasting by having the students share in the teaching activities as part of learning. The faculty implemented Lernen durch Lehren (LdL) or “Learning by Teaching” pedagogy and Bloom's revised taxonomy to encourage and support creativity, independence, confidence, and soft skills (i.e., teamwork, communication, decision making, research, exploration, and presentation skills) with emerging technologies. By creating educational podcasts, students developed skills in new technologies and disseminated information to educate others about fashion design. Faculty and students discovered the benefits and drawbacks with emerging technologies as teaching strategies.

This study aims to understand the lasting relationship between luxury fashion and art. The purpose of the paper is to explore whether the application of art, the cooperation with artists, the implementation of experiential strategies focusing on retail spaces and shows embedded in the strategic concept of a luxury brand lead to a competitive advantage and to a sustained value creation for luxury brands.

Based on the literature, the strategic role of art and the importance of experiential marketing for the value creation of European luxury fashion brands was explored through empirical data collection, consisting of 26 semi-structured in-depth interviews. The gained data have been analysed through a thematic analysis approach and triangulated to avoid bias.

The exploratory study revealed that when art is applied as a strategic tool, it is of relevance to achieve an authentic fit to the brand. When integrating art consistently and authentically within the whole value chain system, it leads to a higher brand equity.

The paper provides a guide for both academics and marketers as theoretical frameworks are examined, analysed and future recommendations are given, which are suited to be applied within the brand management principles.

The outcome contributes to a wider delineation regarding the future of luxury brands. The study reveals novel viewpoints concerning the integration of arts in luxury brand marketing and adds to existing literature.

THE earliest libraries in any kind of community were run by interested members of the community with enthusiasm but no special training. Their communities asked them for very little more than they could get or do for themselves but did not care to find the time for, and because the librarian was one of their own, but no longer functioning fully in their world, the members of the community tended to have, however loyally or gently, a lower opinion of the man and consequently hisoffice. For the failed academic or businessman this was little less than just, but it was quite unjust to the profession of librarianship.

There are many profound links between fashion and tourism. This chapter provides a critical reflection, mainly from a philosophical, historical, and linguistic perspective, on the dynamic relationship and parallel evolution between these two sectors. It explains how their interconnectedness form and mirror contemporary society. This chapter classifies the connections between the two, starting with the person, her body, and the relationship the latter has with fashion and tourism, and with the contemporary society at large. Four layers of such connections are exemplified. It also discusses a selfie, as a symbolic (digital) communication object and a complex phenomenon facilitated by changing technological affordances and societal functions as an excellent case of the complex relationships between fashion and tourism.

In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

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.

The purpose of this research is to determinate the criteria weight in a fashion design scheme evaluation system.

The first stage is to use the fuzzy Delphi method (FDM) by fashion design experts of academia and industries for fashion design evaluation criteria. The second stage is based on the use of a fuzzy analytic hierarchy process (FAHP) to find the criteria weight. Finally, an empirical example is used to illustrate the procedure of obtaining the criteria weights for the evaluation of a fashion design scheme.

The result shows that there are eight evaluation criteria to be obtained for fashion design scheme selection. The evaluation characteristic weights of theme and innovation score almost 90 percent (88.93 percent), the criteria weights of the first five, fashion forecast theme story, best‐seller modification, new idea and product position, score almost 80 percent (79.96 percent) and the criteria weights of the first two, fashion forecast and theme story, score almost 40 percent (39.93 percent) when selecting a design scheme in the fashion design process.

This paper proposes the vital characteristic and criteria for the selection of the fashion design scheme. In selecting fashion design scheme, this study uncovers that the marketing is less important than theme and innovation characteristics. Additionally, the results of this study, indicate the important five criteria, offered designer a set of useful indicators in preparing fashion design scheme and improving the quality of fashion design decision.