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Fashion show films
(2020)
Due to technological developments, fashion show films provide fashion brands the opportunity to communicate their brand concepts, to attract attention and to gain more brand awareness by publishing them in the Internet. The purpose of this research paper is to investigate how fashion brands communicate their brand concept and personality through fashion show films. For this purpose, ten fashion show films of brands from the categories luxury, premium, high-street and active wear are investigated. The results indicate that the investigated brands use different ways to attract attention and to communicate their brand concept and personality. The design of the setting, the presentation of the collection as well as the visualization of the brand concept through the brand name, logo, colors or symbols and camera work play an important role to create an effective and exciting fashion show film in order to communicate the brand concept and to promote their brand image. Mostly luxury and premium brands use fashion show films for branding. For high-street and active wear brands the analysis indicates less importance of fashion show films. The limitations of this research are related to the fact that the restricted number of ten fashion show films is analyzed. This gives an overview but cannot provide a comprehensive breakdown of this topic.
An event film is a successful marketing and communication instrument, which can be used from companies along social media. By reaching the target group and potential customers, companies could benefit from increasing brand awareness. It is striking that there is a lack of information about how event films are used in regard to showing fashion. To establish the subject further, the purpose of this paper is to enrich the existing findings and analyze the influence event films have. In an empirical study, the performance of two events and the two related fast fashion retailers H&M and Zara on Instagram and YouTube regarding event and fashion connected films is analyzed. Identified stylistic elements of event fashion are searched and found in their online shops. Since emotions are especially well transferred through event films, there is an indication that they contribute to the shaping of fashion trends.
The purpose of this paper is to investigate how motion pictures are currently used for the product presentation of fashion articles. An explorative approach was chosen for the literature section. This study shows that the use of moving images for the presentation of fashion articles in online shops is possible in numerous different ways. In order to be able to use product presentation videos meaningfully, one should consider exactly what is the purpose of these videos. Different goals require different means. However, retailers should obtain enough information in advance to assess whether they can afford the production and post-processing of these videos.
The purpose of this paper is to investigate how motion pictures are currently used for the product presentation of fashion articles in online shops in the German, American and British markets. This study shows that the use of moving images for the presentation of fashion articles in online shops is underutilized. With the amount of data that was manageable within the scope of this chapter, no valid generalizations can be made. All described results must be understood as an indication. In order to be able to use product presentation videos meaningfully, one should consider before exactly what is the purpose of these videos. Different goals require different means. However, retailer should obtain enough information in advance to assess whether they can afford the production and post processing of these videos.
Today, digitalization is firmly anchored in society and business. It is also recognized to have significant impact on the retailing sector. The in-store display of moving images has so far, however, gained little attention by researchers. The aim of this research is to provide a first estimation on the current state of moving images distribution in stationary retail stores. A store check was the basis for analysis and evaluation. In sum, 152 stores were analyzed in Stuttgart, Germany. Out of 152 observed stores, 62 stores showed 177 moving images. Detailed analyses about content, mood, color and the actors of motion pictures showed that all aspects are very well harmonized with the target group of the store. The chapter provides a basic estimation of the in-store diffusion of moving images. Thereby, avenues for further research are opened up.
This chapter provides insights in the future of fashion film with respect to augmented reality and virtual reality technologies. The question: How does augmented reality and virtual reality influence the future of fashion film? is therefore considered. It is important to analyze the influence of those technologies on fashion films to assess the potential for fashion retailers and in best case gain first-mover advantages. To answer the stated research question, a literature research was conducted to gain insights about the topic and its influence towards fashion filming. Explanation of augmented reality and virtual reality is provided as well as implications in the retail sector regarding fashion films. Moreover, company examples already using this approach have been compiled. Furthermore, an empirical research part was conducted including a survey method based on an online survey design. The questionnaire is based on what has been revealed in literature to gain in depth insides and approval. The data gained indicated that augmented reality and virtual reality influence the future of fashion film in various ways. The findings highlight how important those technologies can be in order to enhance customer experience and engagement. Regarding the research question, the conclusion can be drawn that it is highly important for fashion managers to take future developments like augmented reality and virtual reality into account to stay competitive and satisfy the requirements of modern consumers.
Purpose
The purpose of this paper is to explore why men do not rent luxury fashion to explain why the demand for luxury fashion rental services for men is so low and to contribute to science by collecting high-quality data for the research fields gender differences in barriers to renting fashion, barriers to participating in renting luxury fashion in general and to increase the amount of data on men consumption behavior in the field of fashion and luxury fashion research. Furthermore, this study aims not only to make a theoretical contribution, but also to provide practical implications for the luxury fashion rental industry.
Design/methodology/approach
To answer the research question, qualitative semi-structured interviews with seven men were conducted, who are interested in fashion and spend at least 10% of their monthly net income on luxury fashion per month. Through a deductively-inductively category-based qualitative content analysis of the interviews supported by the software MAXQDA, not only were the reasons found why many men refuse to rent luxury fashion, but also characteristics were discovered that make luxury fashion rental services more attractive to men, as well as two fashion segments and a product category in which men can imagine renting fashion or luxury fashion under certain circumstances.
Findings
Men reject the concept of renting primarily because of the nonexistence of ownership, which has to do with loss of emotional value, loss of functional value, fear of social rejection, and identity concerns; other reasons include lack of individualism, lack of habit and their own subjective standards. Except for two outliers, the remaining men surveyed could imagine using a luxury rental service under certain conditions. The most frequently mentioned features were omnichannel approach, transparency of the entire rental process provided by reviews and feedback about both the borrower and the lender, information about the cleaning process, and proof of authenticity. Also mentioned was the maintenance of exclusivity and the fact that rental services should be offered directly by the company. In the convenience category, the purchase option and insurance were mentioned most often. In addition, some men could imagine renting event-related clothing, very trendy and expensive luxury clothing, and luxury watches. However, none of the respondents would give up owning clothes and primarily use the LFRS.
Value/Practical Implications
So that marketers do not have to go through trial and error to figure out which of these characteristics works best for which male target group, the work developed five types that can be targeted with selected characteristics and their marketing, and thus perhaps persuaded to participate in the LFRS. The social type needs the feature of maintenance of exclusivity, the emotional type needs the purchase option and an omnichannel experience, the flexibility type needs the same day delivery and free exchange possibilities, the cost-benefit type needs analytical tools to maximize his rental income or to calculate whether it is cheaper to buy or rent this particular item for this particular period of time, the rule-governed type needs an added value in addition to renting such as a top service.