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Why We Can’’t Have Nice Things: Social Media’’s Influence on Fashion, Ethics, and Property

為了解決balenciaga的問題，作者 這樣論述：

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai ＂rainbow bag,＂ using Balenciaga’s hashtags to circulate memes revealing the source of the bags’ design. In Why We Can’t Have Nice Things Minh-Ha T. Pham examines the way

social media users monitor the fashion market for the appearance of knock-off fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media c

oncern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity

. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies.

balenciaga進入發燒排行的影片

後疫情時代奢侈品牌線上時裝秀探究—以情境類型為例

為了解決balenciaga的問題，作者張育瑄 這樣論述：

隨著後疫情時代的居家隔離、封城與鎖國等措施，眾多時尚部落客、媒體和明星無法出席實體時裝秀，因此數位時裝秀應運而生。時裝秀線上展演的呈現方式與實體時裝秀截然不同，疫情帶來的震撼不但沒有侷限設計師的創意，反而顛覆時尚產業看待時裝秀的角度。 本研究以Liu & Kwon(2020)歸納出的六種情境表達類型為分析架構，以時裝及配件為主要商品的奢侈品牌：Louis Vuitton、Chanel、Hermes、Gucci、Dior、Prada、Buberry為研究對象，探討後疫情時代奢侈品牌轉為線上展演之情境類型，討論其表現形式之使用，分析其情境類型與服裝設計理念是否融合。研究範圍為疫情爆發後的一

年(2020年6月至2021年6月)之間，7個品牌於官方YouTube頻道發布，總計33支的線上時裝秀影片。 研究發現：一、線上時裝秀可分為微電影呈現、蒙太奇影像、3D場景、秀後設計師座談等四種常使用的表現形式。二、微電影呈現較常與「思想的情境表達」、「溝通的情境表達」結合；3D場景則常與「溝通的情境表達」結合。三、品牌設計師所運用的情境類型以「聯想的情境表達」為最多數。四、奢侈品牌最常運用的情境類型各有不同。五、「空間的情境表達」從實體時裝秀與觀眾緊密扣連的目的，在線上時裝秀轉變為自由概念的呈現。六、由於許多品牌都是採錄播的方式，因此在一場秀中可以運用多種情境類型。七、即便在相同場景展

演，情境類型的意義卻隨著設計師欲傳達的理念而有所不同。八、「聯想的情境表達」結合蒙太奇影像的表現形式，使觀眾對情境的領會、印象更為深刻。九、在某些情況下，設計師的情感和思維比系列本身更能引起共鳴，足以對群眾產生巨大的影響。十、使用與主題關聯不明的呈現方式，或是容納過多元素會導致觀眾混淆焦點。

Runway Bird: A Rock ’’n’’ Roll Style Guide

為了解決balenciaga的問題，作者Lazareanu, Irina,McConnell, Drew,Loperena, Pascal 這樣論述：

Top model Irina Lazareanu has appeared on hundreds of magazine covers, including Vogue Italy, W magazine, Harper’s Bazaar, Self Service, Elle, and Marie Claire. She walked countless runway shows, including Chanel, Dior, Versace, Yves Saint Laurent, Prada, Alexander McQueen, Burberry, and Marc Jacobs

, and has been a muse to fashion designers. She appeared in ad campaigns for Chanel, Balenciaga, Burberry, L’Oréal, and Kate Moss’s Topshop collection. Sean Lennon is a musician; he produced Irina’s first solo album, Some Places Along the Way. Irish musician and writer Drew McConnell is a founding m

ember of London-based band Babyshambles; he worked with Courtney Love and is touring as Liam Gallagher’s bassist and backing vocalist. Pascal Loperena, celebrity and model agent, is former art director at Ford Models Paris. He coau­thored Get Gorgeous with Christel Vatasso.

Exploring the Memetic Effect on Brand Engagement and Self-Concept: A Systematic Literature Review

為了解決balenciaga的問題，作者Nikolai Brent Pulido 這樣論述：

About a decade and a half ago, the world was introduced with Memes. Over the years, the Meme has evolved, and its effects have taken unprecedented direction. This research aims to investigate said unprecedented effect with a focus on the effect it has on Brands, Marketing Strategies, Brand Engageme

nt, Brand Attitudes, Self-Concept, and thereby encapsulated by what we now know as digitalization. This research is a systematic literature review, whereby 72 different articles were read, summarized, augmented relevantly, and applied.The findings of this research provided new insights into the valu

e of memes, and suggested usages of memes for brands to reap most of its benefits from it. There are two main usages of the memes, (1) using memes as a marketing strategy, and (2) using memes as a marketing tool. This study suggests that memes as a marketing tool provides most benefits and is highly

effective to steering marketing campaigns in the right direction. The value of this research lies with brands seeking new ways to market and guide their brands in an ever-changing world of social media.