ZoneModa Journal https://zmj.unibo.it/ <strong>ZoneModa Journal – ISSN 2611-0563</strong> is the first Italian journal dedicated to fashion research in its complexity: aesthetic, social, cultural, economic, historical. Its aim is to cover an interdisciplinary space intersecting fashion criticism and fashion theory. en-US <p>The copyrights of all the texts on this journal belong to the respective authors without restrictions.</p><div><a href="http://creativecommons.org/licenses/by/4.0/" rel="license"><img src="https://licensebuttons.net/l/by/4.0/88x31.png" alt="Creative Commons License" /></a></div><p>This journal is licensed under a <a href="http://creativecommons.org/licenses/by/4.0/" rel="license">Creative Commons Attribution 4.0 International License</a> (<a href="http://creativecommons.org/licenses/by/4.0/legalcode">full legal code</a>). <br /> See also our <a href="/about/editorialPolicies#openAccessPolicy">Open Access Policy</a>.</p> zmj@unibo.it (Editorial Team) ojs@unibo.it (OJS Support) Wed, 21 Jul 2021 13:08:26 +0200 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 Editorial https://zmj.unibo.it/article/view/13286 Daniela Calanca, Simona Segre Reinach Copyright (c) 2021 Daniela Calanca, Simona Segre Reinach https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13286 Wed, 21 Jul 2021 00:00:00 +0200 Mediatized Fashion: State of the art and beyond https://zmj.unibo.it/article/view/13118 <p>The concept of mediatization concerns the role and influence of the media in both society and the fields of cultural production. Fashion has witnessed several processes of mediatization, exemplified by the rise of fashion bloggers and influencers and the emergence of several online activities — e.g., broadcasting fashion shows — alongside or in place of those that previously took the form of face-to-face interaction. Such a mediatization has then accelerated rhythms of fashion communication imposed by the new digital environment. Moreover, thanks to the role of legacy and digital media, fashion as a cultural industry has been increasingly able to fuel global social imaginaries. This article briefly reviews the state of the art of studies on mediatization in the field of fashion, with a focus on the role of fashion brands. The essay also considers the Covid-19 pandemic as an accelerator of digitization processes, and proposes a number of valuable questions to investigate the future of mediatization in fashion. First, how do fashion brands, whether mass-market or high-end, interface with their audience, advertise their products, reach their targets, finalize the sale, and retain consumers? Second, how has digital technology changed the format and meaning of fashion shows and catwalks? Thirdly, how do fashion brands cooperate with, defend themselves against or exploit new digital intermediaries such as bloggers, influencers and content creators? Finally, how do brands pursue the quest for authenticity, as a value and a rhetoric construction, through digital channels? The contributions of this special issue provide, through the study of empirical cases, elements to answer these questions.</p> Mariachiara Colucci, Marco Pedroni Copyright (c) 2021 Mariachiara Colucci, Marco Pedroni https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13118 Wed, 21 Jul 2021 00:00:00 +0200 The Alt-Right and the Mobilization of Brand Affect: New Balance and Neo-Nazis’ Athleisure Affiliations https://zmj.unibo.it/article/view/13185 <p>This article probes American sportswear manufacturer New Balance’s reputational and public relations crisis, which resulted from an executive’s statement of support for Donald Trump’s US-focused trade policies in the aftermath of the 2016 presidential election. Reported consumer backlash to New Balance’s apparent alliance with Trump was exacerbated when neo-Nazi publication <em>The Daily Stormer</em> penned an editorial appropriating New Balance as “the official shoes of White people.” Using theories of affect in social media and consumer culture as a framework, I situate the New Balance case within the current culture wars as enacted in politicized social media threads, as well as prior instances in which alt-right groups have attempted to co-opt sportswear brands’ cultural associations in the service of extremist politics. Performing manual inductive content analysis on a sample of tweets from before the publication of the editorial (n=100) and after (n=77), I illuminate a polarized political division between users in terms of their backlash or endorsement of New Balance’s stance, which correlates with stated anti-Trump or pro-Trump positions, and articulate how users position themselves in terms of a consumer/customer relation to New Balance as brand, while sneakers become a material outlet for consumers to enact their discontent in a mediatized forum.</p> Rebecca Halliday Copyright (c) 2021 Rebecca Halliday https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13185 Wed, 21 Jul 2021 00:00:00 +0200 Space, Time and Catwalks: Fashion Shows as a Multilayered Communication Channel https://zmj.unibo.it/article/view/13100 <p>Fashion shows - the key moment in the fashion communication system - have become a privileged setting for experimenting with new communication languages that implement multifaceted and multi-channel strategies, poised between innovation and tradition. Fashion shows always could read and interpret the spirit of the times in different eras, transforming and shaping themselves into different formats each time while always remaining true to themselves. The article investigates the different contemporary forms of the catwalks, whether real or virtual, implemented due to the digital acceleration witnessed during the Covid-19 social distancing period. In this context, the fashion shows define new communication forms and strategies that are no longer limited to the “here and now” but expand space, thanks to the possibility of remote participation and time, by amplifying the whole concept: the catwalk-event become amplified with the inclusion of a pre, a during and a post. The time expands thanks to communication strategies that increasingly stage the phases that precede the fashion show (the creative process, the backstage, the work in progress), but also the subsequent phases, those of storytelling and narration, formerly the prerogative of a few privileged journalists, now shared storytelling, in which designers directly tell and explain their point of view, both through traditional narrative forms (such as interviews) and through forms of interaction typical of digital (such as gaming, sharing and Instagram live).</p> Vittorio Linfante, Chiara Pompa Copyright (c) 2021 Vittorio Linfante, Chiara Pompa https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13100 Wed, 21 Jul 2021 00:00:00 +0200 Phygital Retailing in Fashion. Experiences, Opportunities and Innovation Trajectories https://zmj.unibo.it/article/view/13120 <p><span data-contrast="auto">The digital&nbsp;and technological transformation, whose effects have profoundly influenced the last two&nbsp;decades,&nbsp;and which has recently undergone a sudden acceleration, changed how&nbsp;fashion brands&nbsp;produce, sells and communicate&nbsp;and&nbsp;also&nbsp;how individuals come into contact with&nbsp;fashion,&nbsp;experience,&nbsp;share,&nbsp;and&nbsp;“consume” it.</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;335559740&quot;:360}">&nbsp;</span></p> <p><span data-contrast="auto">Within this framework, fashion&nbsp;has progressively embraced&nbsp;and incorporated technologies in the retail system&nbsp;opening up to new opportunities in terms of communication and distribution strategies, pushing towards an increased integration between physical and digital systems.&nbsp;In the light of current consumer&nbsp;dynamics, the omnichannel approach is evolving into a&nbsp;phygital&nbsp;one, with the progressive merging of the material and digital dimensions.&nbsp;Retail&nbsp;spaces are undergoing a process of proliferation and integration of channels, multiplication of messages and narratives, increase of services resulting in a new "augmented" scenario.&nbsp;</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;335559740&quot;:360}">&nbsp;</span></p> <p><span data-contrast="auto">Assuming a design perspective, the paper aims to investigate the nature and the impact of digital transformation in fashion retailing, with a focus on in-store technologies and their relationship with spaces and the customer journey, identifying, starting from the most recent fashion retail concepts, some possible scenarios and innovation trajectories.</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;335559740&quot;:360}">&nbsp;</span></p> Valeria M. Iannilli, Alessandra Spagnoli Copyright (c) 2021 Valeria M. Iannilli, Alessandra Spagnoli https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13120 Wed, 21 Jul 2021 00:00:00 +0200 Post-Digital Fashion: The Evolution and Creation Cycle https://zmj.unibo.it/article/view/13121 <p><span class="TextRun SCXW186793863 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW186793863 BCX0">In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.</span></span><span class="EOP SCXW186793863 BCX0" data-ccp-props="{&quot;201341983&quot;:0,&quot;335559738&quot;:5,&quot;335559739&quot;:160,&quot;335559740&quot;:360}">&nbsp;</span></p> Selma Pereira , Marcos Adérito Fernandes Copyright (c) 2021 Selma Pereira , Marcos Adérito Fernandes https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13121 Wed, 21 Jul 2021 00:00:00 +0200 Out of the Boardroom and into the Showroom: Shifting the Brand Digital Conversation from Emotional Response to Awareness https://zmj.unibo.it/article/view/13119 <p>In the contemporary digital environment, brands are modelling their communication strategies on values typical of the corporate world and thus creating a widened narrative which transforms emotional storytelling into something more oriented towards authenticity, reputation and ethics. An insight into where your jeans were packaged or the tags on your trainers were made, a glimpse inside the factories where raw materials are transformed into products, a guide to every step of the process by which fishing nets recovered at sea are recycled into items of clothing---these are just a few examples of what today might be termed "project storytelling": manufacturing information as narrative, sustainability in action to sidestep accusations of greenwashing. Brands are becoming more and more aware of the need to present a transparent creative process in all its phases, as well as to involve the consumer in the dialogue. In this brave new world, there are many admirable examples of brands at which the traditional rhetoric of the fashion narrative (more closely linked to aspirational and purely aesthetic imaginaries) has given way to a total honesty and a commitment to customers and, above all, younger generations, who are ever more concerned with questions of ecology, inclusivity and sustainability.</p> Marta Martina Copyright (c) 2021 Marta Martina https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13119 Wed, 21 Jul 2021 00:00:00 +0200 Sustainable Luxury in South Africa: The Twyg Platform https://zmj.unibo.it/article/view/13101 <p>This article investigates the digitisation of ethical luxury in South Africa, focusing on the case study of the media company Twyg. Twyg’s online platform and social media accounts, particularly Instagram, participate in the production and circulation of a discourse on developmental fashion informed by principles of circularity and respect for diversity. The article discusses the communication strategy that Twyg employs to construct a positive discourse around luxury brands as drivers of a specific South African model of sustainability that pursues quality and craftsmanship, while preserving a local circular economy. The article is based on the author’s interviews with Twyg’s founder, Jackie May, and on cultural analysis of the materials published on the platform and Instagram channel. The discussion on sustainability builds on luxury studies, slow fashion studies, and the current debate on decolonialism, making a contribution to the literature on digital luxury in the global South. In particular, it expands the study of small independent actors, offering a reading that complements the more mainstream focus on big brands and international stakeholders.</p> Enrica Picarelli Copyright (c) 2021 Enrica Picarelli https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13101 Wed, 21 Jul 2021 00:00:00 +0200 1951: The First Italian High Fashion Show. Conference Report and Interview to Neri Fadigati https://zmj.unibo.it/article/view/13198 Ylenia Caputo, Flavia Piancazzo Copyright (c) 2021 Ylenia Caputo, Flavia Piancazzo https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13198 Wed, 21 Jul 2021 00:00:00 +0200 The Value of Unfashionable Fashion. The Management and Evaluation of Unsold Goods according to Fashion Cycle and Circular Economy https://zmj.unibo.it/article/view/13201 <p>The fashion system has very often worked without taking very much attention to unsold goods and not used raw materials. The product life cycle is usually very short and products lose their value very fast as every season fashion is forward-looking. Discount shops and outlets are the final step where the past seasonal collections are on sale but sometimes it can happen that goods are destroyed in order not to damage the brand value and exclusivity. This behaviour is not very sustainable anymore. Nowadays this situation is changing and a new approach to this issue is arising. Brands have understood how important brand heritage is and they have started to collect and preserve their past. For many companies recycling and upcycling strategies are becoming more and more common and they offer this new product proposal to the market as a new trend to preserve our planet. On the other side, consumers are changing their shopping and consumption habits. Second-hand shops and websites like Vestiare Collective seem to be the evidence that a new culture and way of thinking is arriving.</p> Luca Fabbri Copyright (c) 2021 Luca Fabbri https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13201 Wed, 21 Jul 2021 00:00:00 +0200 F for Fashion: A Collaborative and Multidisciplinary Project on Fake and Fashion https://zmj.unibo.it/article/view/13122 Giulia Caffaro Copyright (c) 2021 Giulia Caffaro https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13122 Wed, 21 Jul 2021 00:00:00 +0200 Sofia Gnoli (a c. di). <em>Ephimera. Dialoghi sulla moda</em>. Electa 2020 https://zmj.unibo.it/article/view/13124 Daniela Calanca Copyright (c) 2021 Daniela Calanca https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13124 Wed, 21 Jul 2021 00:00:00 +0200 Maria Antonia Barucco, Fiorella Bulegato, Alessandra Vaccari (a c. di). <em>Remanufacturing Italy. L’Italia nell’epoca della postproduzione</em>. Mimesis Edizioni, 2020 https://zmj.unibo.it/article/view/13103 Rosa Chiesa Copyright (c) 2021 Rosa Chiesa https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13103 Wed, 21 Jul 2021 00:00:00 +0200 Orsola de Castro. <em>Loved Clothes Last</em>. Penguin Random House UK, 2021 https://zmj.unibo.it/article/view/13280 Nadica Maksimova Copyright (c) 2021 Nadica Maksimova https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13280 Wed, 21 Jul 2021 00:00:00 +0200 <em>Design! Oggetti, processi, esperienze</em> https://zmj.unibo.it/article/view/13102 Elena Fava Copyright (c) 2021 Elena Fava https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13102 Wed, 21 Jul 2021 00:00:00 +0200 Lucia Mauri and Lorenzo Malavolta. <em>Intrecci Etici, La rivoluzione della moda sostenibile in Italia</em>. LUMA video, 2021 https://zmj.unibo.it/article/view/13190 Nadica Maksimova Copyright (c) 2021 Nadica Maksimova https://creativecommons.org/licenses/by/4.0 https://zmj.unibo.it/article/view/13190 Wed, 21 Jul 2021 00:00:00 +0200