Academic literature on the topic 'Fashion shows – China'

in the post-mao era china competed successfully for a place in the international trade in textiles and apparel, but its economic success has not been matched by recognition of chinese fashion design on the world stage. one reason for this lies in the obstacles posed by the existing hierarchy of fashion capitals, which has proved notoriously difficult to subvert. shanghai may mean fashion in china, but unlike paris, it does not mean that to the world at large. yet the chinese fashion industry is also bedevilled by problems of its own. a high degree of national self-consciousness on the world stage is evident in international fashion shows featuring rather predictable pastiches of chinese culture. it may be the case that state-sponsored nationalism militates against both a more interesting approach to cultural heritage on the part of designers and a more receptive climate for chinese fashion on international catwalks.

This paper develops a conceptual connection between the Revised Technology Acceptance Model and Hofstede’s Cultural Dimensions in explicating the adoption by customers of a social media platform in the fashion industry in the context of the US and China. This study shows that the trustworthiness of Facebook is positively related to US customers’ intention to purchase fashion items and the trustworthiness of WeChat is positively related to Chinese customers’ intention to purchase fashion items. Also, US customers’ perceived usefulness is not positively related to the intention of using Facebook to buy fashion items. However, their Chinese counterparts had the opposite result. The findings enhance our understanding of the factors that influence customers’ adoption of social media platforms for purchasing fashion items and provides suggestions for marketing managers as to how they can utilize social media platforms to market fashion items. The paper concludes with a discussion of possible future research in this field.

Purpose The increased complexity of global supply chains and its inherent risk requires the re-evaluation of the SCRM discipline as a source of value creation for shareholders. This paper aims to unveil the areas that require more focus considering the point of view of Chinese manufacturers, and following a social constructivist approach oriented to fashion organizations outsourcing to China, unveil the elements driving the point of SCRM strategies. Design/methodology/approach The authors studied the existing body of knowledge related to SCRM and developed a model to quantify the influence of macro and micro risk factors to the different operations performance indicators. This model was used in a survey to 61 Chinese manufacturers of fashion products, while at the same time, an interview to 20 members of the SC group of fashion companies around the globe was conducted to understand the qualitative and quantitative elements shaping their SCRM initiatives. Findings The study shows that, while supply, manufacturing and demand risk remain as the main factors hindering value creation in the industry, the addition of the manufacturer’s perspective proves that other elements that are less evident to the customer, such as macro-social and micro-infrastructure (transportation, financial and information), require more attention. Additionally, it was noted that the influence of the different risk factors is different for the different performance indicators of quality, speed, cost, dependability and flexibility. Finally, it shows that current SCRM programs tend to be simplified methods of trial and error, fed with incomplete KPIs, shaped by the experience and priorities of dominant stakeholders and prompt to potential agency costs and focused on the short term. Research limitations/implications The focus on the fashion industry led to relatively small sample sizes for surveys and interviews. Although some patterns are identified, studies with larger sample sizes could facilitate the statistical analysis of unique characteristics in the different sub-groups. Additionally, the use of cross-sectional research designs that include survey techniques has the limitation of not explaining processes over time. Future reference to this work can be complemented with a new study to unveil the latest priorities. Practical implications This study shows that, to create value, fashion organizations first need to determine the operational elements that create value for them and then focus their limited resources on the risk elements that have proved more influence. The authors offer a systematic framework to measure the risk associated with global outsourcing; it can be used by organizations outsourcing globally to make strategic decisions, including potential outsourcing locations, to allocate resources across categories and to evaluate changes over time. Finally, the interview with SC practitioners shows that, to advance toward its objective of value creation, the SCRM discipline requires cross-collaboration and a holistic approach supported by more systematic processes that can reduce bias and potential agency costs. Originality/value This study offers insights about contemporary factors affecting the value creation function for fashion organizations outsourcing production to China and a more holistic approach vs other studies by including: a wider and more relevant categorization of risk factors, the perspective of Chinese manufacturers and the view of SC practitioners around the world. This study also develops a model to explain the cycle of SCRM in fashion organizations and the most common traps hindering its execution.

This paper examines the basic design theories underpinning contemporary Chinese fashion by exploring a fundamental question: are there any common features that can be summarized about Chinese fashion, and, if yes, what is Chinese fashion? Chinese fashion in this paper means clothing that is in “Chinese” style and designed by People's Republic of China (PRC) designers. To answer the specific question, I undertook in-depth interviews with selected Chinese designers and then supplemented these with a textual analysis of interviews published previously in prominent Chinese fashion journals. This study shows the Chinese style exhibiting features of “implied beauty” in aesthetic, flat form in shape, and harmony in spirit. I synthesize the three features into one Chinese character, HE. HE literally encompasses rich meanings: harmony, peace, implicit but evoking, reserved, pure, natural, and any synonyms of these words. The character indicates an implied beauty system of China—presenting the beauty in an implicit and subtle form. Implied beauty urges viewers to imagine the beauty that is between visibility and invisibility under the clothing, rather than to sense the beauty by directly seeing the body of the wearer through the eyes. The primary form in Chinese style clothing as a reflection of implied beauty is the flat form, meaning that the clothing is cut without any darts or seam lines to reduce the volume differences between the bust line, the waist line, and the hip line. The cutting hides body rather than reveals body. Finally, in spirit Chinese fashion reflects the core Chinese philosophy of harmony, which means being in tune with both the social and the natural environment.

This study explores consumers’ decision-making in terms of intention to switch to foreign brands from domestic brands when purchasing cell phones and sports shoes. A survey of 584 undergraduates in Guangdong, China, shows that domestic brands retain their low quality-conscious, low fashion-and-recreational-conscious and low price-conscious customers and attract low brand-conscious and high choice-confused buyers from foreign brands. Foreign brands typically retain their consumers who are highly conscious of fashion and recreation and keep and draw customers with low choice confusion. High-price-conscious consumers and those who are highly brand-confused will assess foreign and domestic brands when searching for bargains. Regarding managerial implications, local brands should offer products of high quality at low pricesand constantly invest in R&D; foreign brands may expand their customer bases and build interactive brand channels; all companies can retain brand-confused customers with preferential packages and design their marketing strategies based on decision-making styles of their target consumers.

The literary heritage of Alexander Pushkin is well known to a wide range of readers. A line in a letter to Count A. Benckendorff, written in January 1830 and in which Pushkin asks permission to let him go to China, attracts attention. The purpose of the article is to try to find out what reasons prompted Pushkin to make such a request. It is essential to understand the age during which the poet lived. The fascination with Chinese culture came to Russia from France, which significantly impacted Russia’s life in the 18th–19th centuries. Chinese goods, the so-called Chinese rarities, began to appear in Russia even during Peter I’s reign, who often gave orders to buy them for the St. Petersburg Kunstkamera. Exotic things from China were delivered to St. Petersburg by caravans from Beijing through Siberia and the Urals or by sea on ships of the East India Company through Western Europe. Empress Catherine II set the fashion for interiors in the Chinese style: the Chinese Palace (1762–1768) appeared in Oranienbaum; Chinese buildings, the largest complex of buildings in the Chinese style, appeared in Tsarskoe Selo. There, in Tsarskoe Selo, in 1811, Emperor Alexander I established the Imperial Lyceum, in which Alexander Pushkin studied, and where, undoubtedly, the poet’s first encounter with the Middle Kingdom occurred. At this time, Russian periodicals also paid much attention to China. In them, articles about the trade of Europeans in China, about porcelain and silk factories, as well as about the wisdom of Chinese rulers and moral instructions for posterity began to be published. Pushkin read a lot and could not have been unaware of these publications. The acquaintance of Pushkin with monk Father Iakinf (N. Bichurin), an outstanding Russian sinologist, had a significant influence on the poet. Father Iakinf was appointed the Head of the ecclesiastic mission in Beijing in 1807 and lived there until 1821. As the examination of Pushkin’s library shows, the poet had Bichurin’s books about China. Also, he read Jean-Baptiste Du Halde’s book The General History of China in the Russian translation known at that time. As the study shows, Pushkin was interested in China and was going to visit it; however, fate had its own plans.

This paper revisited the relationship between capital buffers and risk adjustments by showing the impact of the business cycle. Empirically, we used an unbalanced panel dataset from 426 banks of the BRIC countries (i.e., Brazil, Russia, India, and China) for the period 2007–2016. By using the two-step system GMM (2GMM), this study shows the results as: (i) capital buffers of Russia, India, and China behave counter-cyclically while it is pro-cyclical for Brazilian banks over the business cycle; (ii) in BRIC’s economy, credit risk, and bank financial stability is related to business cycle in counter and pro-cyclical fashion, respectively; (iii) capital buffers adjustment speed is the premier in China and India, shining banks accessibility to capital refill is much easier to Brazil and Russia. The adjustment speed is heterogeneous across countries; and (iv) financial stability in apex for the Chinese, Russian, and Indian banks apart from the Brazilian banks.

Abstract In February 1926, Chinese art collector John Hilditch opened the Hilditch–McGill Chinese Palace Temple in Manchester. Filling a garage with Chinese objects and performing what he claimed to be Buddhist rituals, Hilditch insisted the temple offered visitors a chance to see Chinese art in ‘actual Chinese fashion and atmosphere’. This article analyses Hilditch’s attempts to construct an authentic temple and visitor accounts of its realism to analyse the relationship between high and low culture, and how China was understood and imagined in the 1920s. It shows how Hilditch’s combination of sensory effects adopted from mass culture and claims to museum notions of scientific verification, in addition to the projection of well-established stereotypes of China, skewed understandings of authenticity and invited faith—albeit most likely ‘ironic’ faith—in the temple’s legitimacy. Scholars have argued that the rise of mass culture prompted art museums to restructure on high cultural values but interpretation of the temple as a museum shows that the lines between mass culture and museums were blurred. The temple thereby encourages a broader definition of museums and complicates our understanding of interwar culture more generally by showing how the categories of high and low culture were less stable than some scholars have presumed.

On the basis of multiple skeletal specimens from Liaoning, China, we report a new genus and species of Cretaceous stem therian mammal that displays decoupling of hearing and chewing apparatuses and functions. The auditory bones, including the surangular, have no bone contact with the ossified Meckel’s cartilage; the latter is loosely lodged on the medial rear of the dentary. This configuration probably represents the initial morphological stage of the definitive mammalian middle ear. Evidence shows that hearing and chewing apparatuses have evolved in a modular fashion. Starting as an integrated complex in non-mammaliaform cynodonts, the two modules, regulated by similar developmental and genetic mechanisms, eventually decoupled during the evolution of mammals, allowing further improvement for more efficient hearing and mastication.

The aim of the study is to form a holistic image of China as presented in the artistic and journalistic works of Fyodor Dostoevsky. The article examines the issue of China’s place in Dostoevsky’s works and its special significance for the formation of a holistic picture of the writer’s world. A broad historical and cultural background is presented, showing the relevance of Dostoevsky’s views on Chinese issues. Despite the existence of works devoted to the Chinese issue in the writer’s work, the issue of the place and significance of China in the writer’s heritage has not yet been resolved. For the first time, a number of fragments are introduced into academic discourse that reveal Chinese problems in the writer’s works. The imagological concept unfolds on the broad material of the entire body of Dostoevsky’s texts, bringing the scholarly apparatus of research to a new level. The article uses the following works: White Nights, Humiliated and Insulted, The Village of Stepanchikovo, The House of the Dead, The Idiot, Crime and Punishment, The Possessed, The Brothers Karamazov, the poem “On European Events in 1854”, A Writer’s Diary, preparatory materials for A Writer’s Diary, notebooks of 1864 and 1865. It is concluded that the understanding of the Chinese theme is in harmony with the general journalistic trends of the second half of the 19th century, on the one hand; on the other hand, the unique place of China in Dostoevsky’s creative mind is emphasized. A clear structure of the constituents that form the writer’s idea of China is proposed. China is considered in several significant aspects. China is a symbol of the alien and the distant. China is like a set of clichés and a fashion for Chinese household items. China is a real threat to the outskirts of Russia, Siberia. These positions are consistently analyzed in the article. The article also analyzes the Chinese attributes found in different works by Dostoevsky, demonstrates the writer’s acquaintance with the clichéd idea of China. The position of understanding China as a symbol of the alien and the distant is considered in detail. The article shows how the author imposes the realities of Chinese statehood and the principles of organizing society on Russian reality based on the key theme of chaos and disorder. Particular attention is paid to the perception of China as a real threat to the outskirts of Russia. In considering this aspect, Dostoevsky’s geopolitical ideas about the place and role of Siberia in the issue of the revival of Russia are touched upon. The need to expand the understanding of the specifics of Dostoevsky’s Asian views is shown by including a detailed analysis of China and the Asian outskirts of Russia, which undoubtedly are part of the writer’s circle of special reflections on the role and mission of Russia.

碩士
國立臺灣藝術大學
廣播電視學系碩士班應用媒體藝術組
106
Because of new media and market competition, the traditional TV media has lost the audience and advertising revenue. In this situation, the product placement has become more important. In the past, studies of product placement were mainly focused on the TV drama and news programs. The scope of these research focused on the advantages and disadvantages of product placement and the rules of product placement. However, with the competition in media, there are also some studies on the research of individual types of TV shows, such as fashion TV shows. Therefore, this study explores how fashion TV shows operate on product placement and sponsorship, and the rules for product placement and the scale of fashion TV shows. By analyzing in-depth interviews, this study shows that product placement of fashion TV show in Taiwan is very different from that in Mainland China. The product placement on China fashion TV shows is prominent, it tells the brands of products and where you can buy them. However, the product placement on Taiwan fashion TV shows is subtle and can't tell the name of brands. In addition, this study also shows that under the challenge of new media, the fashion TV show has become a new business model with magazine media, online media, social media, e-commerce, and mobile application.

This book addresses the politics of higher education in Imperial China during the Northern Song period (960-1127). How did different political agents -- namely emperors, scholar-officials, teachers and students -- interact in shaping the Imperial University and compete over different agendas? Earlier studies often conceived the Imperial University as a static institution and framed questions within the context of institutional and social history. Building on recent insights/developments in new political history, this book is distinctive for its emphasis on the fluid political processes shaping institutional changes and the interaction of the people involved. Based on a close reading of the surviving records of court archives, chronological accounts and biographical materials of individual agents, the author shows the agendas behind the structures and regulations of the Imperial University and the ways in which they actually functioned, among them the assertion of autocratic rule, the elimination of political opposition, and the imposition of strict morality. Competitions and negotiations over these agenda, the author proposes, lead to changes in educational policies, which did not occur in a linear or progressive fashion, but rather back-and-forth due to ongoing resistance.

A momentous change occurred in eighteenth-century China: fur, together with other products that seemed both exotic and natural, became popular. What meaning did natural objects have in everyday life? Using archival and literary evidence, pawnshop records, travel accounts, and sumptuary laws, the chapter shows how consumer patterns and marketplace understandings of nature shifted through the course of the eighteenth century. From a world where no Chinese word existed for products such as “marten” and “Manchurian pearl,” consumers ushered in a new one where connoisseurship of furs marked elite status, and words existed for every part of each animal’s anatomy. Though faux furs, farmed ginseng, and imitation wild Mongolian mushrooms flooded the street, knowing consumers sought the real thing: undyed, uncultivated products from the far north. While at first a court fashion, by the mid-eighteenth century nature was for sale throughout the streets of Beijing.

Through close readings of male images in a recent TV drama Love Me, If You Dare, the chapter examines how these transnational male images exhibit hybridity and negotiation between global and local discourses of masculinity and how national identity is constructed through negotiation of the meaning of gender. Images like white-collar professionals and returnees from overseas show a conspicuous desire to represent Chinese men in a cosmopolitan fashion and to link masculinity with modernity. In representations of this “transnational business masculinity,” Western lifestyle is represented as a middle-class status symbol and an indicator of knowledge of the world and modernity. The chapter argues that the cosmopolitan masculinity squares with the state’s agenda of building a modern and cosmopolitan image of the country and, in particular, its educated younger elite. Male images in China’s recent television programs display increasing transnationality and a paradoxical coterminosity between cosmopolitan fantasy and nationalist pride, which indicates the fault lines of the confidence and anxiety when China faces the world.

One of the most enduring legacies of Roman coinage is that of busts on coins. No matter how debased the image might appear to be, the appeal of classical prototypes is evident. Though Rome cannot claim to have introduced portraiture to coinage, it used it extensively to put forward political propaganda. On Roman coins portraiture passed from renderings of great realism to mystically idealized anonymous representations influenced by Hellenistic fashion, that is from standard profiles of Western type to three-quarter or frontal portraits of Oriental inspiration. With the advent of Christianity and the absorption of Greek abstract ideas of kingship and authority, models became more stylized with greater emphasis put on the symbols of authority rather than the physiognomy of the king. As Donald Bullough points out, it is now very difficult to appreciate the full impact that these images, whether ‘representations or presentations’, would have had on the people, because we see the coins in isolation, divorced from all the reinforcing ritualizing propaganda of the Imperial machinery. The perceived effectiveness of the imagery is evident from the close adherence to the convention of portraiture on the independent coinage of the Barbarian states. Portraits, whilst retaining their charismatic importance on coins, and many of the features of Roman prototypes, such as the positioning of the bust, headgear, and attributes, were flexible enough to accommodate different tastes and traditions, as well as artistic experiments and subtly changing propaganda messages. It is the variety of Anglo-Saxon responses that will be examined in the following sections, because these peculiarities are particularly valuable, as they allow us glimpses into ‘native’ customs and taste, and alternative sources of inspiration. Among these, for instance, are bearded portraits. Anglo-Saxon coins on the whole show clean-shaven faces, but those with beards are independent from Roman coins portraying curly-bearded emperors. The types of beards reproduced might mirror local fashions, or make a particular statement. One might wonder if the striking arrangement of the runes spelling the end of the name of the moneyer Tilbeorht on the East Anglian coins of Series R, recalling a throat beard under the chin, as seen on the Undley bracteate and the Sutton Hoo whetstone, may be a conscious archaism.