Aspects of ethnocultural values in the strategy for creating an author's brand

The article presents the results of the study of ethnocultural values in the strategy of creating an author's brand. Topical aspects are formulated that form the resources of the brand of the future, with the potential of a sustainable business idea working ahead of schedule. The relevance of the studied topic is revealed in connection with the request of the target audience for self-identification, the need for an original product and the aesthetic value of this product in the fashion industry. And also the emergence of interest in local cultures, as a result — in local brands, and the interaction of identity and competition. It also considers the aspect of emotional satisfaction and the departure from the realities of life's problems through narratives, which resulted in the processes of forming a new reality that affect the whole industry, and an appeal to cultural traditions. The authors analyze the formation of the connection of identities with territory, ecology, psychology, culture, economics. Is considered the influence of tradition and fashion on the landscape of the cultural map of the world. When designers not only create the visual language and design codes of our time, but also preserve the traditional values of folk culture, create a connection with history, invest new meanings in modern fashion, and respond to the requests of entire generations. The article describes the main problems and tasks that the designer should take into account, choosing ethnic conception as the main idea of the brand. The theoretical and applied significance of the work is that the study creates a model of the value of cultural meanings for implementation commercial projects. The work contains illustrative material that renders examples of working with references and using them when creating collections.

The main directions of development for light industry enterprises in the context of a pandemic

The article considers the actual factors for the development of light industry enterprises – the transition of the interaction of the "producer-consumer" system to the digital space using the Internet; application of the customization function in the production of light industry goods and the development of a model of conscious consumption. The presented results of marketing research demonstrate the interest in fashion of a larger number of consumers under 35 years old and confirm the global trend of interest in the global network as the main source of information about fashion. The results obtained reflect the global statistics on consumer awareness of fashion innovations and new products that they receive from the worldwide Internet. The desire to integrate the consumer and the manufacturer using online channels is relevant and in demand both in the global and in the Russian market, based on which we can talk about the use of modern means of interaction. Active segmentation of the market leads to the fact that the consumer becomes more differentiated in terms of their values and tastes, social and demographic status, which in turn changes the demand: it goes from mass to the category of segmented. The authors considered the emergence of the phenomenon of mass customization in global practice and the main approaches to using this tool in the market. Customization is a tool by which the manufacturer and the client come to a common decision regarding the finished product. It was found that economists Joseph Pine II and James H. Gilmore propose four levels of customization, which are called collaborative, adaptive, cosmetic, transparent (joint, adaptive, cosmetic, transparent), respectively, which most fully reflects the levels of implementation of customization in mass production. In this article, the authors review the experience of the two largest sports goods manufacturers in the field of sustainable production and consider the new direction of "slow fashion" (slow fashion) as the basis for the introduction of the customization function.

Fashion industry: a transition to sustainability or a new acceleration?

Nowadays fashion industry is undergoing a grave crisis caused by its incapability to comply with the ongoing acceleration in new ideas and goods production. At the same time fashion surprisingly faces overproduction and huge volumes of goods that become obsolete significantly faster than unfit to use which harm environment. That is why today one of the main goals for all of the fashion market’s participants is the sustainable development of fashion with the use of innovations. The latter are supposed to either fully overcome or significantly reduce negative impacts. The objective of this article is to develop an answer to the issue whether the deceleration in fashion and its further sustainable development could be achieved by introducing innovations. The authors address fashion as one of the most typical phenomena representing the culture of modernity, therefore, the answer to the issue requires considering fashion in terms of theories that describe the principles of modern society. The article suggests considering the ongoing acceleration of fashion in terms of a contemporary theory on the culture of modernity which originated from the so-called Ritter School. The basic concepts of this theory are described in works of one of the School‘s main representatives – Hermann Lübbe. In his work, “Im Zug der Zeit: Verkürzter Aufenthalt in der Gegenwart”, Lübbe describes the key processes and phenomena of modernity which according to the authors of this article are typical of modern fashion industry as well. The article considers the key features of modern fashion industry – high velocity, diversity, liability to both technological and artistic innovation, short life span of its products and vast museumification – in terms of Lübbe’s theory. The authors emphasize the main course of innovations in fashion – its digitalization. It is predetermined by the ongoing Fourth Industrial Revolution. The article observes digitalization‘s impacts on fashion industry. Considering these factors in the whole allows forecasting the direction the fashion industry is likely to take in the future according to the theory.

«Pandora» on the Russian throne. Fashion and Russian Empresse. Part 2

The article is devoted to a retrospective analysis of mutual relations between the Russian empresses and a such nontrivial social phenomenon like a fashion. In many European countries, in the XVIII century the royal or imperial courts revolved around the zeitgeists of costume, and fashion was born in the Monarch’s residency. He and his entourage became the role models in clothes, accessories, shoes and hairstyles, as well as in behavioral pattern, even in dance and plastique. Compliance with this pattern was a way to express the loyal feelings. The ceremonial court-dress basically followed fashion trends and developed in line with the dominant style of art. Based on the analysis of historical documents, scientific literature and rich illustrative material the authors show the attitude of each Russian Empress towards costume, mode of dress and influence on fashion. The first part presents the Empresses of the XVIII century — Catherine I, Anne of Russia, Elizaveta Petrovna and Catherine II. The article was framed in the imago-graphic format, in which the text — illustrative material ratio is about equivalent. All portraits are as nearly attributed and attached to the place of their current exposure. Authors’ contributions: the text — Yu.N. Uvarova, selection of illustrative material — N.K. Alimova

The economic security issues of periodicals by the example of women’s magazines

The authors consider the economic security issues of the modern periodical press by the example of women’s «glossy» publications. The article briefly describes the history of dissemination of women’s periodical in the world and in Russia. A comparative analysis of circulation and prices for advertising was carried out by the example of three magazines Vogue, Elle and Marie Claire. The authors note that the early XXI century marked the beginning of a protracted crisis for publishers of women’ gloss. First off, this is due to the development of Internet and digital technologies. Taking the above mentioned into considerations, we can conclude about the high level threats of economic safety for the modern periodicals, in particular, for the women’s magazines. First of all, this is drop in incomes from sales of circulations and advertise. In addition, a dollar volatility leads to an increase in the cost of magazine edition. The share of income received from the magazine sites still amounts to a miserable interests. The deliberate overstatement of circulations leads to the publishers’ reputational damage. All this results in the fact that the problems of raising level of economic security for the modern gloss enter into in the foreground.

«Pandora» on the Russian throne. Fashion and Russian Empresse. Part 1

The article is devoted to a retrospective analysis of mutual relations between the Russian empresses and a such nontrivial social phenomenon like a fashion. In many European countries, in the XVIII century the royal or imperial courts revolved around the zeitgeists of costume, and fashion was born in the Monarch’s residency. He and his entourage became the role models in clothes, accessories, shoes and hairstyles, as well as in behavioral pattern, even in dance and plastique. Compliance with this pattern was a way to express the loyal feelings. The ceremonial court-dress basically followed fashion trends and developed in line with the dominant style of art. Based on the analysis of historical documents, scientific literature and rich illustrative material the authors show the attitude of each Russian Empress towards costume, mode of dress and influence on fashion. The first part presents the Empresses of the XVIII century — Catherine I, Anne of Russia, Elizaveta Petrovna and Catherine II. The article was framed in the imago-graphic format, in which the text — illustrative material ratio is about equivalent. All portraits are as nearly attributed and attached to the place of their current exposure. Authors’ contributions: the text — Yu.N. Uvarova, selection of illustrative material — N.K. Alimova