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[null,"1.","Record Nr.",null,"UNINA9910743381003321"]
[null,null,"Titolo",null,"Fashion in 21st century China : design, education, and business / / Yuli Bai, Yingchun Zang, editors"]
[null,null,"Pubbl/distr/stampa",null,"Singapore : , : Springer, , [2022]"]
[{"$nulls":4},"©2022"]
[null,null,"ISBN",null,"981-16-2925-0"]
[{"$nulls":4},"981-16-2926-9"]
[null,null,"Descrizione fisica",null,"1 online resource (190 pages)"]
[null,null,"Collana",null,"Springer Series in Fashion Business"]
[null,null,"Disciplina",null,"687"]
[null,null,"Soggetti",null,"Clothing trade"]
[{"$nulls":4},"Fashion design - China - History - 21st century"]
[{"$nulls":4},"Fashion - China - History - 21st century"]
[{"$nulls":4},"Clothing trade - China - History - 21st century"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Intro -- Preface -- Contents -- Editors and Contributors -- Part I New Generation Design -- 1 Fashion Design in Altermodern China -- 1.1 A New Critical Discourse -- 1.2 Altermodern China -- 1.3 Beyond Hybridity -- 1.4 Brand Neutral -- 1.5 Conclusion: Local, Global, and Multiple -- References -- 2 Projecting Authenticity with Cultural Heritage: Chinoiserie of Contemporary Chinese Fashion Designer Brands -- 2.1 Introduction -- 2.2 Crafting Cultural Authenticity -- 2.2.1 Iconic Authenticity -- 2.3 Projecting Style and Coolness -- 2.3.1 Core Values of Western Fashion: Individualism, Authenticity, and Coolness -- 2.3.2 Cooling \"Old Fashion\" -- 2.4 Beyond Confucian Virtues of Mean and Harmony: Alternative Cultural Authenticity -- 2.4.1 Tapping into the Rebellious and Hilarious Arenas of Chinese Cultural Heritage -- 2.4.2 Designers' Influence on Brands -- 2.5 Internationalizing the Brand Through Hybrid Inauthenticity -- 2.5.1 Chinoiserie Design Based on the Perspective of World Citizens -- 2.5.2 Reviving Traditions in a Light-Hearted Way: Images, Metaphors, and Fun -- 2.5.3 Crafting International Brand Image with Cross-Field Alliances -- 2.6 The Power and Integrity of Constructive Authenticity -- 2.7 Conclusion -- References -- 3 Multisemiotic Discourse on Fashion and Clothing in Contemporary China -- 3.1 Introduction -- 3.2 Literature Review -- 3.2.1 Contemporary Chinese Fashion Designers -- "]
[{"$nulls":4},"3.2.2 Social Semiotic Theories -- 3.3 Research Design -- 3.4 Fashion and Clothing as Multisemiotic Discourse -- 3.4.1 Nature of Semiotic Resources -- 3.4.2 Selection of Semiotic Resources -- 3.4.3 Manipulation of Semiotic Resources -- 3.4.4 Semiotic Resources Within Social Context -- 3.5 Conclusion -- Appendices -- References -- Part II Industry, Creativity, Education -- 4 \"Live Your Best IP\" 20 years in Chinese Fashion."]
[{"$nulls":4},"4.1 1997-2005: A Landscape Where Anything is Possible -- 4.2 2007-2014: Questioning the Chinese Approach to Creativity and Individuality -- 4.3 2015-2016: Inside the Chinese Fashion Industry, Bring Your Best IP -- 4.4 2016-2019: Global Design Thinking in China -- 4.5 WeDesign Onwards, Building a Brave New World of Chinese Design -- 5 That Which is not Taught: A Conversation Recalling the Delivery of Creative Workshops at Tsinghua University Academy of Arts and Design Between 2006 and 2019, and the Emergence of China as a Country of Designers -- 5.1 Introduction -- 5.2 Then and Now: Context and Content/Teaching and Learning -- 5.2.1 The Creative Practice Project -- 5.2.2 Academy Wide Option Project -- 5.3 Internationalisation -- 5.3.1 Home Grown -- 5.4 Conclusion: A Summary of Our Conversation -- References -- 6 The Identity of the Emerging Young Chinese Fashion Designers and the Role of Fashion Design Education -- 6.1 The Rise of Chinese Fashion Designers -- 6.2 Methodology -- 6.3 The Identity of the Third Generation of Chinese Fashion Designers: Heterogeneous -- 6.3.1 Embracing the Multi-culture -- 6.3.2 Deconstruction as a Main Technique -- 6.3.3 The Fun Emotion -- 6.4 A Brief History of \"Fashion\", \"Design\" and Fashion Design Education in China -- 6.5 The Centralized Chinese Education System and How It Affects the Designers (see footnote 1) -- 6.6 The Role of Creativity: Whether the Younger Generation is More Creative Than Their Predecessors (see footnote 1) -- 6.7 Conclusion -- References -- 7 Fashion Events in China Today: New Models for Fashion Education, Industry-Academia Partnerships, and Fashion Promotion -- 7.1 Introduction -- 7.2 Methodology -- 7.3 BIFT Fashion Week: A New Model for Project-Based Learning -- 7.3.1 Background of BFW -- 7.3.2 Project Management -- 7.3.3 Cross-Course Collaboration."]
[{"$nulls":4},"7.4 China Graduate Fashion Week: A New Model for Industry-Academia Partnership -- 7.4.1 Background of China Graduate Fashion Week -- 7.4.2 Project Management -- 7.4.3 Industry-Academia Partnership -- 7.5 China Fashion Week: A New Model for Fashion Promotion -- 7.5.1 Background of China Fashion Week -- 7.5.2 Project Management -- 7.5.3 Promoting Role in China's Fashion Industry -- 7.6 Conclusions -- References -- Part III Marketing, Consumption -- 8 Are Mass-Market Digital Strategies an Oxymoron in the Luxury Fashion Industry? An Insight from China -- 8.1 Introduction -- 8.2 The Chinese Luxury Fashion Industry, Its Consumers, and Digital Marketing -- 8.2.1 The Chinese Luxury Fashion Industry-Emerging Digital Trends -- 8.2.2 The Chinese Luxury Fashion Consumers-Generation Y (Millennials) and Generation Z -- 8.2.3 Digital Marketing and Chinese Luxury Fashion Consumers -- 8.3 Conclusion -- References -- 9 American Products in China: How Much is \"Made in USA\" Worth? -- 9.1 Introduction -- 9.2 Literature Review -- 9.2.1 Effect of COO and Brand on Perceived Price -- 9.2.2 Effect of COO and Brand on Purchase Intention -- 9.2.3 Quantifying the COO Effects on Perceived Price -- 9.3 Methodology -- 9.4 Data Analyses and Results -- 9.4.1 Validity -- 9.4.2 Preliminary Results -- 9.4.3 Two-Way Repeated MANOVA -- 9.4.4 Regression -- 9.5 Conclusions, Implications, Limitations, and Future Studies -- References -- 10 Disclosure of Mainland Chinese "]
[{"$nulls":4},"Youngsters in Hong Kong-The Acculturation and Consumption -- 10.1 Introduction -- 10.2 Literature Review -- 10.3 Research Methodology -- 10.4 Research Findings -- 10.4.1 Food, Book, and Unique Design Products Are the Top Three Categories of Consumption Goods Taken from Hometown -- 10.4.2 Feeling of Freedom and Independence -- 10.4.3 Finding \"Myself\" in Fashion Consumption-The Choice of Clothes."]
[{"$nulls":4},"10.4.4 Lifestyle Exhibited by Consumption-Luxury Life is not Necessarily Related to Luxury Goods but Experience -- 10.5 Discussion -- 10.5.1 Symbolic Consuming Goods to Construct the Persistence of Culture -- 10.5.2 Balance of Belongingness to Form the Uniqueness in Acculturation Process -- 10.5.3 Distinction and the Consumption of Lifestyle -- 10.6 Conclusion -- References -- Index."]