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Conclusion
Abstract
A particularity of fashion heritage lies in its capacity to renew the narrative forms of appearance woven between designers, producers and consumers, considering that forms of appearance are forms of expression of the “I” and the “We” (Simmel, G., American Journal of Sociology 62, 541-548, 1957; Crane, D., Fashion and its social agendas: class, gender, and identity in clothing. The University of Chicago Press, Chicago and London, 2000), with a strong repercussion in social terms, influencing the wellbeing and the construction of the life project of each and every individual. From this fact derives the power that fashion has been exercising throughout history. The diversity of fashion objects and the techniques and expertise related to their production, selling and use, and the multidisciplinary research based on all these aspects, contribute to the transmission of these narratives, raising the question of the definition and justification of heritage. Each of the case studies in this book reveals different social, political, economic and cultural motivations for the desire to ‘make heritage’. In a context of climate change and the unprecedented health crisis linked to the Covid-19 epidemic, the fashion and clothing industries have lessons to learn from the past and a reflection to make about the present and the future. It is within this frame that we propose a reflection on the role narratives play in the construction of knowledge and creativity, with knowledge and creativity at the core of what may be considered fashion heritage.
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The use of the construct “Brand Love” is relatively recent in explaining consumer behavior. However it is pertinent to think that a stronger consumer connection with a brand influences their behavior, particularly in terms of loyalty and willingness to pay a higher price for their “Brand Love”. In this sense this paper aims to examine how the antecedents of “Brand Love”, brand identification and sense of community influence loyal behavior and willingness to pay a higher price for “Brand Love”. We used structural equation modeling to analyze data collected for two clothing brands commercialized in Portugal: Zara and Modalfa. Data collection was done through a survey with a structured questionnaire for each of the brands. The results show that for the Portuguese consumers the brand Zara is considered a preferred brand and as such consumers appear to be loyal and willing to pay a higher price compared to those practiced by the brand Modalfa.
The phrase “fast fashion” refers to low-cost clothing collections that mimic current luxury fashion trends. Fast fashion helps sate deeply held desires among young consumers in the industrialized world for luxury fashion, even as it embodies unsustainability. Trends run
their course with lightning speed, with today’s latest styles swiftly trumping yesterday’s, which have already been consigned to the trash bin. This article addresses the inherent dissonance among fast fashion consumers, who often share a concern for environmental issues even as
they indulge in consumer patterns antithetical to ecological best practices. Seemingly adept at compartmentalism, and free of conflicted guilt, such consumers see no contradiction in their Janus-faced desires. Can luxury fashion, with ostensibly an emphasis on authenticity, and its concomitant
respect for artisans and the environment, foster values of both quality and sustainability? Since individual identity continually evolves, and requires a materially referential re-imagining of self to do so, we hypothesize that actual rather than faux luxury brands can, ironically, unite the
ideals of fashion with those of environmental sustainability.
In some circles, “fast” has become a proxy for a type of fashion that epitomizes ideas of unsustainability; yet high speed is not in itself a descriptor of unethical and/or environmentally damaging practices but a tool that is used to increase sales and deliver economic growth with attendant ecological and social effects. Questions about speed probe deeply into the economic systems, business models, and value sets that underpin the fashion sector today and which profoundly shape its sustainability potential. In this article, ideas and practices of the lexicographical opposite to “fast,” i.e. slow culture, are framed as an opportunity to begin to engage better with systems-level questions in the fashion sector in order to build deeper and longer-lasting change towards sustainability.
This article explores the ways that consumers use fashion discourse to inscribe their consumption behaviors in a complex ideological system of folk theories about the nature of self and society. Verbatim texts of 20 phenomenological interviews concerning consumers' perceptions and experiences of fashion are interpreted through a hermeneutic process with specific consideration given to gender issues. Whereas critics of consumer culture frequently argue that fashion discourses enshroud consumer perceptions in a common hegemonic outlook, our analysis suggests that this ideological system offers a myriad of countervailing interpretive standpoints that consumers combine, adapt, and juxtapose to fit the conditions of their everyday lives. By appropriating fashion discourse, consumers generate personalized fashion narratives and metaphoric and metonymic references that negotiate key existential tensions and that often express resistance to dominant fashion norms in their social milieu or consumer culture at large. A theoretical model is derived that portrays a dialogical relationship between consumers and this cultural system of countervailing fashion meanings. The implications of this model for future research on the meaning transfer process and the sociocognitive dimensions of consumer beliefs are discussed.
College students responded to a series of questionnaires while they were in the process of selecting housing from a choice of seven available options for the coming fall. Questionnaires concerned their self-concepts, their housing prototypes, their preferences in housing, and their goals in housing selection. Overall analyses of the self-to-prototype matching strategy suggest that most students indeed prefer the type of housing for which their prototype of the "representative" resident most closely matches their self-perceptions. More important, we obtained individual differences in attention to self-fit in situations. Of individuals who reported that they had interpersonal goals in the housing selection task, those who reported that many personality characteristics (both positive and negative) were untrue of self were more systematic in their use of the self-to-prototype matching rule, this was also true of low self-monitors. Neither pattern of individual differences obtained for students with practical goals in the housing decision.
Offering an original contribution to the field of luxury and fashion studies, this edited collection takes a philosophical perspective, addressing the idea that humans need luxury. From this framework it delves deep into two particular dimensions of luxury, emotions and society, and concludes with cases of brand building in order to illustrate the two dimensions at work. Comparative analysis between countries is brought together with an emphasis on China. Chapters address the ongoing growth in the market, as well as the significant changes in the sector brought about by fast international expansion and an increased focus on ethical supply and sustainability, making the book an insightful read for scholars of fashion business, luxury and branding.
Proposing a comprehensive account of the global fashion industry this book aims to present fashion as a social and cultural fact. Drawing on six principles from the industry, Godart guides the reader through the economic, social and political arena of the world's most glamorous industry.
This study adopts a sociological approach to adolescent consumer behaviour to examine normative influence on fashion brand choice. Bearden's social influence scale (1989) is applied to the choice of sports footwear brands by teenagers. The informational factor is found to be hardly relevant, and the normative factor divides into two components-identity and compliance. Modifying the concept of compliance to the rather softer notion of 'approval' results in a scale (based on Bearden's original) that significantly discriminates between fashion brand buyers and others. The need to be liked by one's peers appears to be a more important driver of choice than the need to express one's identity with them.
Why do major historical events such as the Holocaust occupy the forefront of the collective consciousness, while profound moments such as the Armenian genocide, the McCarthy era, and France's role in North Africa stand distantly behind? Is it possible that history "overly remembers" some events at the expense of others? A landmark work in philosophy, Paul Ricoeur's Memory, History, Forgetting examines this reciprocal relationship between remembering and forgetting, showing how it affects both the perception of historical experience and the production of historical narrative. Memory, History, Forgetting, like its title, is divided into three major sections. Ricoeur first takes a phenomenological approach to memory and mnemonical devices. The underlying question here is how a memory of present can be of something absent, the past. The second section addresses recent work by historians by reopening the question of the nature and truth of historical knowledge. Ricoeur explores whether historians, who can write a history of memory, can truly break with all dependence on memory, including memories that resist representation. The third and final section is a profound meditation on the necessity of forgetting as a condition for the possibility of remembering, and whether there can be something like happy forgetting in parallel to happy memory. Throughout the book there are careful and close readings of the texts of Aristotle and Plato, of Descartes and Kant, and of Halbwachs and Pierre Nora. A momentous achievement in the career of one of the most significant philosophers of our age, Memory, History, Forgetting provides the crucial link between Ricoeur's Time and Narrative and Oneself as Another and his recent reflections on ethics and the problems of responsibility and representation. âHis success in revealing the internal relations between recalling and forgetting, and how this dynamic becomes problematic in light of events once present but now past, will inspire academic dialogue and response but also holds great appeal to educated general readers in search of both method for and insight from considering the ethical ramifications of modern events. . . . It is indeed a master work, not only in Ricoeurâs own vita but also in contemporary European philosophy.ââLibrary Journal âRicoeur writes the best kind of philosophyâcritical, economical, and clear.ââ New York Times Book Review
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