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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.

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.

The purpose of this paper is to investigate the effect of obese models vs normal weight models on fashion brands’ attractiveness.

An experiment was carried out in which 1,225 university students in Sweden and Brazil rated the attractiveness of a fashion brand worn by a normal weight model and an obese model.

The overall effect of obese models’ effect on fashion brand attractiveness was insignificant. Furthermore, neither culture nor the consumer’s own weight had a significant effect. There was, however, a significant effect of the participant’s own gender; women rate fashion brands worn by obese models significantly higher on attractiveness than they did fashion brands worn by normal weight models. Men displayed the inverse response.

The effect of the model’s ethnicity was beyond the scope of the experiment, and the brand attractiveness scale captured only one aspect of brand character, leaving other potential brand effects for future studies.

Companies can use obese models with no overall brand attractiveness penalty across markets and for marketing to women of all sizes. Given men’s negative reactions, such models might however be unsuitable for the male-to-female gift market.

The results support the use of obese models, which can lead to greater representation of larger women in the media, and consequently, reduced fat stigma.

The study validates the theory of user imagery, and it extends the theory by examining how different target consumers react to user imagery traits and thus provides evidence for gender bias toward obese models.

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.

This paper aims to elucidate how cultural intermediaries shape the subjectivity of other marketplace actors in fashion, thus preserving the illusio underpinning this field of cultural production.

Narrative interviews were conducted with cultural intermediaries in the fashion industry. These were supplemented with non-participant observations, carried out simultaneously during the research process. Interview transcripts and field notes were analysed using a combination of holistic-content and categorical-content analysis.

As the fashion field is constructed around beliefs as to what constitutes value, the empirical data demonstrate how fashion models’ embody the illusio of the field and authenticate the values, meanings and identities inherent in it through aestheticised and rarefied styles of performance. These activities seduce other market actors and engender a willing suspension of disbelief that in turn mobilises affective intensities resulting in perceptions of legitimacy.

This research adds greater clarity to what cultural intermediaries do when they mediate between economy and culture. To do this, our research is analysed in terms of the ritual performance, the sensibility of the model, the use of the body and the performative fusion.

The paper offers practical implications insofar as it deconstructs the two core ritualistic aspects of the fashion industry which each season yields significant tangible outputs in various forms. The combination of narrative inquiry with observation allows for a better understanding of how these events can be best channelled to mediate the illusio of this cultural field.

To date, there has been very little consumer research that explores cultural intermediaries and less still that offers an empirical glimpse of their performance. This research adds greater clarity to these embodied performances that legitimate other market actors’ suspension of disbelief while also demystifying the ambiguity with which cultural intermediaries are discussed in consumer research.

The purpose of this paper is to investigate how the weight of ideal users affects the perception of mass market fashion brands.

An experiment was carried out in which 640 university students replied to a web survey, rating the brand personality of jeans and shirts according to Aaker's Big Five construct. The garments were worn by thin, overweight, and obese models.

The findings show that consumers’ impressions of mass market fashion brands are significantly affected by the weight of ideal users. Slender models lead to the most positive brand perception followed by obese models. Overweight user imagery is for pure fashion brand building the least attractive kind.

A limitation of this study is the use of convenient student samples. Consequently, the generalization of the results beyond this convenience sample may be limited. It is further possible, even probable, that high fashion would suffer more from the negative imagery of overweight and obese users than mass market fashion. It would therefore be interesting to replicate this experiment using clothes of higher fashion grade and price.

The demonstrated effects of user imagery support the industry practice of slim ideal female imagery.

The results inform the debate over skinny models vs real women in advertising.

Previous research regarding the effectiveness of real women in advertising has been inconclusive. This paper demonstrates not only that model weight affects consumers’ brand perception, but also how.

This paper aims to deal with the issue of business model change in industrial markets. It considers the fast-fashion supply chain by addressing the following research questions: What are the paths of change of the supplier’s business model to match the business model of fast fashion customers? How can a supplier’s business model be adapted to customer’s requirements in these paths of change?

Empirically, the paper presents a multiple case study of 10 semi-finished textile suppliers, carried out through a long-term research programme in the Italian textile industrial district of Prato.

The multiple-case study shows some key drivers of change in the suppliers’ business models. Three main paths emerged from the interactions with fast fashion clients. Paradoxes in the supplier’s business model changes are identified and discussed.

The paper proposes implications for suppliers interacting with fast fashion clients and discusses how the adaptation of business models may be interpreted. This study points out how matching the business model of the customers does not call for alignment of similar features.

The paper deals with an understudied topic within the literature: business models change in business to business markets, taking into consideration the perspective of the supplier. It considers buyers-seller relationships in industrial supply chains as being part of a chain of business models and the need for the supplier’s business model to adapt and match one of the clients. The paper proposes two potential interpretations of such adaptation.

The purpose of this paper is to understand how young female fashion consumers assessed the facial attractiveness of an advertising model. The study focused on the consumers exposed to both local and foreign fashion advertising.

The study sample consisted of 161 young female (18-30 years old) university students from the State of Qatar. A research questionnaire was designed to assess the perceptions of young Qatari females toward the facial features of a cluster of international fashion models representing a variety of looks. Due to the cultural sensitivity of the research topic, data were collected online using SurveyMonkey. Apart from the key demographics, the research questionnaire captured the respondent’s own self-assessed facial profile, an ideal facial profile, and the facial profile of the most preferred model from a set of choices. The authors analyze the similarities and differences between the three profiles collected from each respondent: self, ideal and choice.

The findings indicated that a mix of facial features (a blend of classical Arabic looks and contemporary Western looks) is preferred by most respondents. This matches the expectation of consumers exposed to local as well as international fashion advertising.

In developing markets (such as Qatar), preference for fashion models is shaped by a combination of local and foreign advertising influences. Hence, it is likely that hybrid models (i.e. representing a combination of Eastern and Western looks) appeal to young female consumers within these markets. Retailers of fashion clothing and accessories can use this information to select models who maximize the appeal of their brands.

The research sheds light on how judgments about the attractiveness of female models are made by triangulation among the self, the ideal and the selection of models available to choose from. The research provides a window into how young women make judgments of physical attractiveness based on facial features.

Uppsala internationalisation theory is highly utilised due to its simplicity and applicability. However, there are contrasting results on its assumption that firms follow a gradual internationalisation process. Literature shows that firm strategies (e.g. targeting a niche market) and firm resources (e.g. brand image and asset specificity) may decrease barriers of entry. Global fashion retailers possess these characteristics and may not follow a gradual internationalisation pattern. Therefore, the purpose of this paper is to examine whether fashion retailers that target a niche market, have a strong brand image and asset specificity will follow a gradual internationalisation pattern suggested by Uppsala.

Two aspects of internationalisation (speed of internationalisation and market selection) were analysed. Market selection was measured by three aspects of distance (geographic distance, economic distance, and culture distance). Data were collected utilising secondary sources and internationalisation patterns were calculated using existing formulas.

Overall, results provided partial support for Uppsala model. After cautious expansion early in internationalisation, fashion retailers experience a period where rapid expansion exists. During initial internationalisation, geographically and economically close markets were chosen, which mirror the Uppsala model. However, no incremental patterns were observed thereafter. In addition, after initially moving to culturally close countries, firms moved to countries with close cultural proximity to each other rather than close to home market.

The findings are based on three cases of fast fashion retailers; thus, for further generalisation, if the findings will be applicable to other fashion firms which have different strategies and resources needs to be examined.

This study is one of the first attempts to research the applicability of Uppsala model to fashion retailers. By investigating fashion retailers that target niche markets, have strong brand image and asset specificity; the paper adds additional empirical evidence of situations where internationalisation does not follow the linear pattern that Uppsala model argues.

With India becoming world’s second largest user of smartphones (Ming, 2017) and with more users adopting mobile devices for online shopping, Indian online retailers now have to manage mobile channel in addition to existing traditional channel (of computers). Hence, the purpose of this study is to investigate the mapping of product characteristics with individual channel capabilities and its effect on online consumer behaviour, so that e-tailers can create enhanced online shopping experience for consumers.

A comprehensive research model is developed on the basis of the knowledge gained from multichannel retailing and e-commerce literature. Then, the model is empirically tested, with primary data collected from 344 customers, using structural equation modelling. The data are collected from customers across two product categories: electronics and fashion.

The results reveal that perceived usefulness, perceived risk and perceived self-efficacy are important drivers of online consumer behaviour for continued usage. The multi-group analysis confirms the moderation influence of platform type for some relationships across electronics and fashion.

The findings underline the importance of multichannel complementarity across electronics and fashion. The preference of mobile devices for fashion and traditional devices such as computers for electronics provides valuable insights for online retailers towards management of multichannel e-commerce ecosystem.

In Indian context, this is the first empirical research on online multichannel retail setting, studying the impact of diverse channel formats on different product categories. The study’s findings give empirical basis to online retailers to look out for right product–channel fit strategy for engaging consumers in the long run.