Fashion Communication in the Digital Age

Studies in Communication Sciences

We are happy and thrilled to introduce this thematic section of Studies in Communication Sciences (SComS), devoted to Fashion Communication. It was about two years ago when we first discussed the idea in Madrid: then we got the approval by SComS Editors, published the call, and eventually secured the outstanding collection of papers you have in your hands (or on your screen). A long and enriching journey, full of interactions, conversations, views and reviews, a journey that makes the scholar’s work so fascinating (even if, sometimes, not that fashionable).

2019

We are happy and thrilled to introduce this thematic section of Studies in Communication Sciences (SComS), devoted to Fashion Communication. It was about two years ago when we first discussed the idea in Madrid: then we got the approval by SComS Editors, published the call, and eventually secured the outstanding collection of papers you have in your hands (or on your screen). A long and enriching journey, full of interactions, conversations, views and reviews, a journey that makes the scholar's work so fascinating (even if, sometimes, not that fashionable). This editorial has two main goals. On one side, it aims to provide a helicopter view on the topic, exploring fashion as (also) communication (par. 1); how communication and its media have been intertwined with fashion and its related industries and practices (par. 2); how recent digital transformation has impacted fashion, making room for new communication affordances and business models (par. 3). On the other side, it presents the collected articles, placing them on the abovesketched map of fashion communication (par. 4): their diversity and complementary nature is for sure a great richness for this issue of SComS and for all its readers.

Digital Fashion Communication

This is an open access article distributed under the terms of the CC BY-NC 4.0 license.

2016

The development of information technology and its effect on the fashion industry is still to be quantified. While it is evident that technological change alters the way we experience the world it is also clear that these changes are eventually incorporated into the conventions of everyday life. This appears increasingly true of Web 2.0, which is characterised by increased interactivity, file sharing and social networking (Lindgren 2007). Web 2.0 offers new forums for watching, discussing, promoting, selling and consuming fashion brands. Of particular significance to the fashion industry is the impact of weblogs, or blogs, on the way fashion is produced and consumed (Abrams 2009 & Wilson 2009). Blogs are a frequently updated personal journal made available on the Internet. Increasingly, street style blogs such as The Sartorialist and Facehunter establish what is considered fashionable within globalised networks. In understanding the role of blogs as arbiters of style this paper will ...

2016

Fashion communication is a multi-faceted subject. It refers to the way fashion is presented and marketed, by fashion shows and catwalk performances, advertisements, photos and editorial material on paper, web or walls, blogs and other 'social media', displays in stores and windows, or icons and models on television and movies. It also includes how fashion communicates a personality or lifestyle. With the abundance of brands and designs, fashion communication is essential to develop a distinct identity and make it visible. Fashion communication is a challenging subject for research efforts. It is truly multidisciplinary and transdisciplinary, as the socio-economical and socio-cultural context is crucial, but to create and spread the message, it involves the sciences of media, management, logistics and technology. Fashion communication is also a function of time. Timely communication is necessary in the rapidly changing, short lifespan fashion world. Society and consumer behaviour also change over time, and the means and methods of communication reflect that. There will be new ways of communication tomorrow, as today's media expressions, like blogs and twitters, are already on their way into retirement. The manifold of ways and perspectives in fashion communication is reflected in this issue of the Nordic Textile Journal. As usual we present a journal with a balanced composition of contributions having design, technology or management, the three cornerstones of the Swedish School of Textiles, as the basis for the approach. Several illustrations help support the discussion on fashion communication, be it from an artistic, societal, historic or scientific point of view. This issue is also a milestone for the journal, as now the contributions have consistently been peer reviewed, to ensure scientific and artistic quality and value. The efforts of the Nordic Textile Journal's new international editorial board in this respect, as well as the valuable contributions of the knowledgeable and professional authors are gratefully acknowledged.

Studies in Communication Sciences

This document, designed and written during the conference FACTUM19, has two main goals: to help consolidate Fashion Communication as an academic field, and to support an international and interdisciplinary network of scholars in the area, whose collaboration may lead to a larger body of research and, in turn, to further academic recognition. To do so, it outlines main research topics, approaches and challenges, as well as related industry issues and learning dimensions.

Fashion is a form of direct and individual communication. It also nourishes an industry with high research requirements due to its present characteristics: fast mutation of its specificities, its time to market and the obsolescence of its products. The understanding of consumers' desires, behaviour and of the purchase process of fashion products is extremely important to the design of fashion products collections as well as to the placement of these products in the market.

The development of information technology and its effect on the fashion industry is still to be quantified. While it is

2022

Anna Keszeg: Redesigining Fashion Media Operations of Contemporary Fashion /Case Studies/ ACTA UNIVERSITATIS SAPIENTIAE SOCIAL ANALYSIS 12. évf. : 2. sz. pp. 169-172. , 4 p. (2022)

Tekstilna industrija, 2023

The tendency of dressing in the new so-called "digital age" in the new not only fashionable but also global period is this -the individual needs to feel modern and unique, in that order it is necessary for him to be a part of the new world filled with avant-garde, co-formism, eclecticism, mega-popular goals, semiotic universals, to be outside the limits of the normal, generally accepted and conventional. Of course the same goals are in sync with the global world, its policies, social arrangements, rules and principles, not only in fashion but also in life in general. The fact that events in life and global changes (regardless of their nature) affect the changes that take place in fashion and the fashion world is undeniable. Today, we encounter modern materials, a product of new technology and science in general, which enable a greater level of sustainability and usability. Their representation in the collections is not accidental, the fact that the fashion shows are becoming ultra-modern, which are presented in an absolutely unconventional way by ultra-modern supermodels, requires the appropriate production of the same models from suitable materials that will correspond to the technology of the new century. The idea is to present a fashion collection in the most modern way possible -virtually, with the latest technology, through a modern mix of social platforms, supported by the most avant-garde models, in the most exotic places, in the most unusual way possible, complemented by modern technology, complemented by brilliant stage effects.