Search results

The fashion sector is complex. It involves multiple actors with distinct and potentially conflicting interests, forming a value ecosystem. Thus, knowing the interested parties and belonging to the fashion sector may be a means to promote technological innovation, such as products with wearables. The purpose of this paper to identify the participants of the fashion ecosystem from the perspective of wearable technologies and develop a conceptual model.

The present work aims to identify the participants (actors) and develop a conceptual model of the fashion ecosystem from the perspective of wearable technologies. The systematic literature review is the recommended method to qualitatively analyze documents and identify the interested parties (actors) in the fashion sector in order to design the proposed conceptual model.

From the studies, the conceptual model of the fashion value ecosystem was designed, and the wearable product was considered its core business. The studies identified addressed ecosystems of fashion value in general but not specific to wearable products and their relations with other complementary industries.

The model was designed using secondary data only. Its validation is relevant through interviews with experts.

In terms of relevance, when conducting a systematic literature review, there were no studies that included wearable technologies in the fashion ecosystems discussed and their relations with other industries. The topic of wearables is an emerging subject that needs further research aiming to insert this technology in productive sectors.

The purpose of this paper is to propose an identity model for sector brands and examines its applicability for the Brasil Fashion System brand.

A systematic review of the literature on corporate brand identity models is undertaken. The interviews were carried out with two interest groups: the associations comprising the brand, and the consultancy company responsible for sector brand advisory.

The sector brand identity model is applicable to the Brasil Fashion System brand with the exception of two elements. The application may have experienced some adversity because of the considerable divergence among the associations. In cases where the brand represents just one association, the application of the model may occur with more favorable element management.

Theoretical contribution occurred toward sector brands and brand identity with the development of an identity model for the sector brand, so far not addressed in academic studies.

When adopting the identity model for sector brands, managers would be able to understand the components that have to be managed on sector brand identity. The model can contribute to improve the management of these kinds of brands.

The academic studies of corporate brand identity models and sector brands are analyzed in order to create the first sector brand identity model that was experienced by the Brazilian fashion industry.

Australians consume twice the global average of textiles and are deeply engaged in a linear take/make/waste fashion model. Furthermore the Australian fashion sector has some unique supply chain complications of geographical distances, sparse population and fragmentation in processing and manufacturing. This research aims to examine how Australian fashion small to medium enterprises (SMEs) are overcoming these challenges to run fashion businesses built around core principles of product stewardship (PS) and circularity.

SMEs make up 88% of the Australian apparel manufacturing sector. This qualitative exploratory study included in-depth interviews with three Australian fashion SMEs engaged in circular design practice, and a focus group of 10 Western Australian fashion advocates of sustainability. Analytic coding and analysis of the data developed eight distinct themes.

This study examines the barriers to circular economy (CE) that exist in the Australian fashion sector, and maps the practice of Australian SMEs with circular business models in overcoming these barriers. In CE innovation, Australian SMEs may have an advantage over larger fashion companies with more unwieldy structures. Employing design-thinking strategies, Australian SMEs with a foundation of PS and circular purpose are creating new systems of viable closed-loop business models and design processes.

The themes from this research contribute to the limited literature on circular innovation examples that link CE theory with practice in the fashion sector. The model for circularity maps the practice of three SMEs built around core principles of PS and circularity in overcoming the barriers to CE in an Australian context, and may be used as a visual tool in education and understanding.

The purpose of this paper is to analyze the factors that make Beirut a fashion hub by studying the characteristics of creativity and the role of the different stakeholders in setting an environment that encourages creativity in Beirut.

The methodology of this research is based on a literature review and information collected through semi-structured interviews with the different stakeholders of the sector.

The research reveals three results. First, this dynamic fashion design in Beirut is explained by the international success of some Lebanese fashion designers. Second, as there is an absence of any form of governmental intervention, the development of the sector is totally based on private business initiatives. Third, the research demonstrates the importance of the local culture, knowledge exchanges and lifestyle in shaping creativity and designers’ careers in Beirut.

These findings contribute to the clarification and critical analysis of the current state of fashion design in Beirut, which would have several policy implications.

Globalization and its impacts on economies, societies and cultures has been a hot topic of research and discussion in the past few years. Recent times are witnessing the upsurge of another doctrine in the international arena – the practice of isolationism, a policy majorly related to political affairs but extendable to business, sustainability, green behaviour and various other spheres.

Globalization has resulted in various kinds of disordering and reordering of business objectives and practices. Modern day consumers have new needs and lifestyle orientations. The flip side is that increased global operations have precipitated newer challenges for Corporate Social Responsibility (CSR). But for managing globalization, isolationism is not the answer (Altman, 2007). Isolationism cannot be expected to have reciprocative effects of globalization. In fact, it may be in dispute with interests of many social stakeholders.

Responsible businesses have reoriented their CSR initiatives towards environmental and social stewardship. Sustainable Development Goals (SDGs) are the more recent strategic tools that provide a more focussed mandate to address sustainability issues emerging from increased production, consumption and disposal. In the times of vulnerabilities and disruption, there is an increasing emphasis on developing CSR as a horizontal enabler of SDGs.

Fashion & textile industry is the second most polluting industry globally. Fast fashion is having catastrophic impacts on the environment. Due to the massive size and magnitude of the global fashion & textile industry (USD 920 billion in 2018 and projected to grow to USD 1,230 billion by 2024), it becomes important to examine dimensions of CSR, in reference to SDGs in this sector. The fashion & textile industry is one of the most globally integrated. Sourcing, production, supply chain management, market development and retailing are all dependent on integration and collaboration amongst various business entities and regulatory bodies across national boundaries. Isolationism may result in disorientations in the enabling environments of this industry.

As sustainability is going to be the most important directive in coming future, the study aims to examine the cohesiveness between the current CSR initiatives of the fashion & textile sector and the prescribed SDGs. The study will further investigate if the instantaneous momentum of isolationism could cultivate multifaceted challenges for the horizontal integration of CSR in SDGs; and if yes, what will be the nature of these challenges?

The purpose of this paper is to investigate market‐facing fashion industry strategic alliances in the fashion industry by studying a specific case in context of the existing literature. It has three key objectives: to explore the motives causing strategic alliance formation in the fashion industry; to understand the processes involved in the creation and management of such an alliance, and to identify factors defining the success of the alliance.

Case study methodology was employed studying an instance of market‐facing strategic alliance in the fashion sector.

It was found that while issues generic within the literature may be discerned in instances of strategic alliance in the fashion industry, industry‐specific factors, especially competence in marketing, branding and retailing, impact on the motives for alliance, partner selection and alliance implementation and alliance.

The usual limitations of any case study apply.

The paper provides an account of the motives for processes affecting and outcomes of strategic alliance in the fashion industry and promoting student, academic and practitioner understanding of the topic. The paper also provides a model for the management of such an alliance.

The paper offers insights into a contemporary phenomenon of interest to both practitioners and academics and provides detail on the motives and processes contingent to the successful management of strategic alliances within the fashion sector.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

This chapter explores the evolution of public and private intervention in the fashion sector in France from the end of World War II to the mid-1960s, highlighting the first connections in the relationship with tourism, a link between the two that is increasingly consolidated today and in which the mutual influence between them is becoming more relevant. For this reason, a historiographical reconstruction of the initiatives undertaken in Paris for the promotion and organization of the fashion sector is proposed. The chapter discusses the main aspects at work which shape the interconnection between fashion and tourism.

This paper examines recent developments in the Australian fashion and clothing industry as an example of a small‐scale industry attempting to come to terms with the impact of domestic industry restructuring within the rapidly changing global context of international trade. Most studies of the fashion, clothing and textile industries have concerned industries with major markets or highly specialised industries. There has been little attention to the particularities of smaller, peripheral industries and markets. The argument is that while the issues facing the Australian fashion/clothing industry are common to many industries, particular pressures have come from the contradictions between recent trends in industry policy (restructuring policies of recent governments) and in cultural policy (redefining aesthetic cultural production as industries). The paper discusses the implications of this conjoint approach to the iudustry.