To What Extent Has Generation Z Influenced Fashion Design Trends Looking at China and Western Fashion?

Research Article
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To What Extent Has Generation Z Influenced Fashion Design Trends Looking at China and Western Fashion?

Sicheng Lu 1*
  • 1 Kunshan High School    
  • *corresponding author 2700016781@qq.com
Published on 3 September 2024 | https://doi.org/10.54254/2753-7080/8/2024086
AHR Vol.8
ISSN (Print): 2753-7099
ISSN (Online): 2753-7080

Abstract

This article aims to explore the influence of Generation Z on the fashion of East and West. Through literature review and case analysis, to analyze the characteristics and consumption tendency of Generation Z. Generation Generation Z has had a significant impact on the fashion industry by leading consumption trends, promoting environmental fashion and promoting the exchange and integration of fashion between East and West. This paper proposes some suggestions for the future development of the fashion industry through the analysis of past research results.

Keywords:

Generation Z, Eastern and Western fashion, consumption habits, integration and exchange of Eastern and Western cultures

Lu,S. (2024). To What Extent Has Generation Z Influenced Fashion Design Trends Looking at China and Western Fashion?. Advances in Humanities Research,8,46-58.
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1 Introduction

As an important part of cultural expression, fashion is constantly influenced and shaped by Generation Z consumers. Generation Z is one of the most influential consumer groups today, and its Consumer behaviour and values play an important role in the fashion industry.

Generation Z has many unique characteristics and values, pursuing diversity, personalization, and social responsibility, and being more developed and inclusive. These characteristics directly affect their preferences and consumption behavior towards fashion, as well as the development and trends of the fashion industry.

This paper aims to study the influence of Generation Z on East and West fashion, explore the impact of its consumption habits, social media use and environmental awareness on the fashion industry, and the trend of East and West fashion communication and integration. Provide recommendations for the sustainable and healthy development of the fashion industry through in- depth research and analysis of the following objectives.

1. To explore fashion preference of Generation Z.

2. To define how the fashion industry of the East and the West is affected by the fashion preference of Generation Z.

3. To evaluate the sustained impact of future generations on the fashion industry.

2 Research Review

2.1 The Definition and Historical Background of Fashion

2.1.1 Analysis of the Concept and Definition of Fashion

Fashion is a social expression and cultural phenomenon [1]. Fashion is to show the aesthetic values, values and identity of individuals or groups through clothing, accessories, hairstyles and makeup [2]. Fashion is a trend and trend. It is a social behavior that changes over time, marking the public's pursuit and acceptance of a specific style, design, or brand [3]. Fashion is a form of personal expression and self-actualization. It is an individual's choice of their own image and style, expressing their personality, attitude, and uniqueness through fashion [4].

2.1.2 Important Milestones in Fashion History

The evolution of the fashion industry has gone through multiple important milestones, which affect the development trends of the fashion industry. In the 18th century, the fashion court of Louis XV in France. The French court has become the center of fashion, known for its luxurious clothing and influence of court style [5]. In the 19th century, during the Victorian era. The fashion of this period emphasized solemnity, conservatism, and restraint, emphasizing the elegance and dignity of women. Women's clothing mainly consists of tight skirts, high necklines, and fluffy sleeves [6]. In 1947, Dior's new style. Christian Dior launched the "New Look" series, which led the fashion trend of the post-war era, emphasizing female curves and elegance [7]. In the 1970s, we entered the era of fashion diversification. A variety of fashion styles emerged during this period, including Michael Jackson style, which were infatuated with Michael Jackson, and disco style [5]. In the 1980s, pop culture and fashion. The fashion of this period emphasizes exaggeration, personalization, and luxury, and is known as the "era of flaunting" (Kennedy & Stoehrer & Calderin, 2013). In the 1990s, street culture and fashion trends emerged. The fashion of this period was influenced by street culture and hip-hop music, emphasizing leisure, comfort, and individuality [8]. In the 2000s, digital fashion and Fast fashion. The rise of the Internet and social media has changed the way fashion is spread. The rise of Fast fashion brands has made fashion more popular [9].

Contemporary fashion emphasizes individual uniqueness and diversity, as well as environmental sustainability and moral responsibility [10].

2.1.3 Milestones in the Fashion Industry

These key milestones are closely related to the people of the times. The changes in fashion in each era reflect the changes in people's values, attitudes, and aesthetic concepts in the social, cultural, and economic context at that time. The development of fashion is often closely related to social change, technological progress, and cultural changes [11]. For example, in the

Victorian era of the 20th century, society's expectations of women were conservative and restrained, which was reflected in fashion as women wearing long skirts, tight waistbands, and high-necked clothing [12]. In the jazz era of the 1920s, women's social status underwent a transformation, and women who pursued freedom and independence began to pursue short hair, short skirts, and loose clothing styles, which reflected women's pursuit of self-expression and modernity at that time [13]. In addition, the development of fashion is also influenced

by cultural and artistic movements [14]. For example, the hippie and psychedelic eras of the 1960s challenged traditional concepts, and fashion styles reflected the pursuit of peace, freedom, and individuality, reflecting the young people's desire for social change at that time [15]. In contemporary fashion, the rise of social media and the development of digital technology have provided fashion consumers with more choices and ways to participate. People share and obtain fashion information through social media platforms, and their personal aesthetic concepts and fashion choices are also influenced by social media and digital culture [16]. In addition, the increasing awareness of sustainable development and environmental protection in contemporary society has also driven the fashion industry towards a more sustainable and morally responsible direction, reflecting people's concern for the environment and social responsibility [17]. Therefore, the fashion milestones of each era are closely related to the social, cultural, and economic environment at that time, as well as the attitudes and values of individuals and groups. The changes and development of fashion are important reflections of social change and individual self-expression. People like Coco Chanel, YSL, Alex, and Rei Kawakubo and so on are designers who are influential in design. Coco Chanel promoted innovation in women's fashion. She broke the traditional constraints and led the fashion trend of women wearing men's clothing, short hairstyles, and comfort. Her design is supported by simplicity, classics, and elegance, such as classic little black dresses and Chanel suits [18]. YSL designed revolutionary designs such as women's short skirts, smoke pants, and women's suits in the 1960s. Combining elements of gender, emphasizing freedom and individuality. In addition, he was also the first designer to launch a high-end fashion series, breaking the traditional pattern of the fashion industry [19]. Alex’s fashion style is bold, rebellious, artistic [20]. The fashion style of Rei Kawakubo is avant-garde, pursuing unique, abstract, and anti-traditional aesthetic values [21].

2.2 The Differences and Similarities between Eastern and Western Fashion

2.2.1 The Characteristics of Eastern Fashion

Eastern fashion is characterized by a calm and dignified demeanor, perhaps influenced by religious customs and cultural beliefs.

2.2.1.1 The Embodiment of Social Values

Eastern fashion often incorporates social values in its design, emphasizing family, inheritance, bloodline, culture, and so on. Clothing and accessories are often not only external decorations, but also carry people's emotions and identification with family, tradition, and culture. The continuation of family traditions and culture holds an important position in Eastern fashion, giving it a profound sense of history and emotional resonance.

2.2.1.2 The Use of Colors and Patterns

The use of colors is related to the historical background. Meanwhile, traditional Eastern elements such as dragon, phoenix, bamboo, bird, lotus, peony, etc. are often used as patterns and decorations, reflecting the aesthetic characteristics of Eastern culture. These patterns and colors are not only decorative, but also contain profound cultural connotations.

2.2.1.3 Emphasis on details and craftsmanship

Oriental Fashion emphasizes the handling of details and exquisite craftsmanship. Exquisite embroidery, textile techniques, and handicrafts are widely used in fashion design, giving clothing and accessories a unique texture and artistry. In Eastern culture, details are often seen as respect for tradition and culture, so meticulous design and craftsmanship have become a major feature of Eastern fashion.

2.2.1.4 Cultural inheritance and creation

Oriental fashion emphasizes the combination of innovation and modernization on the basis of inheriting traditional culture. The profound foundation of Eastern culture and unique aesthetic concepts are reflected in fashion design, while presenting a unique Eastern style through innovative design elements and technical techniques. Eastern fashion designers often use traditional culture as a source of inspiration, integrate modern elements and an international perspective, and create fashion works with unique Eastern charm.

Oriental fashion emphasizes the embodiment of social values in design and aesthetics, emphasizes the combination of cultural inheritance and creativity, and pays attention to details and craftsmanship. These characteristics make Eastern fashion unique in the global fashion industry and become an important element for the exchange and integration of Eastern and Western fashion.

2.2.2 The Characteristics of Western Fashion

Western fashion also has its unique characteristics in design and aesthetic concepts [22].

2.2.2.1 Innovation and Individuality

Western fashion emphasizes innovation and personalization. Designers and brands often break traditional constraints and lead fashion trends through unique creativity and style. Western fashion encourages individuals to express their individuality and uniqueness through clothing and accessories, emphasizing the discovery and shaping of personal style [23].

2.2.2.2 Practical and Functional

Western fashion emphasizes practicality and functionality, while Western fashion emphasizes practicality and functionality [24]. Designers not only pursue fashion, but also pay attention to the practicality of clothing and accessories, so that they can adapt to the needs of daily life and different occasions [25]. Western fashion emphasizes the comfort and convenience of clothing, making fashion a part of real life [26].

2.2.2.3 Diversity and Inclusivity

Western fashion emphasizes diversity and inclusivity. Western countries have diverse cultural backgrounds and ethnic groups, which are reflected in fashion design [27]. Designers often draw inspiration from different cultures, integrate diverse elements, and create unique fashion styles [28].

2.2.2.4 Cross Border Cooperation and Cross-cultural Influence

Western fashion emphasizes cross-border cooperation and cross-cultural impact [29]. The fashion industry is closely connected to fields such as art, music, and media, and cross-border cooperation has become a way to promote fashion innovation [30]. In addition,

Western fashion has a wide influence globally, attracting people from different cultural backgrounds to participate and follow together.

Therefore, Western fashion exhibits unique characteristics in innovation and personalization, practicality and functionality, diversity and inclusiveness, as well as cross-border cooperation and cross-cultural influence [31]. These characteristics make Western fashion an important driving force for the global fashion industry, and they engage in communication and integration with Eastern fashion on a global scale, jointly shaping the face of global fashion.

2.2.3 The Influential Factors of Eastern and Western Fashion

Fashion, as a complex cultural phenomenon, is influenced by various factors [32]. The development and changes of Eastern and Western fashion are influenced by the following main factors.

2.2.3.1 Integration Process of Cultural Traditions and Modernization

Both Eastern and Western fashion are influenced by the integration process of local cultural traditions and modernization. In the East, fashion designers not only inherit traditional culture, but also create unique Eastern fashion through the integration of modern elements. In the West, designers often draw inspiration from different cultures, giving Western fashion a diverse style.

2.2.3.2 Social Change and the Spirit of The Times

The development of fashion is closely related to social change and the spirit of the times. The changes in social values and attitudes have influenced people's pursuit and perception of fashion. The fashion styles of each era reflect the main spirit and trends of society at that time.

2.2.3.3 Cross Cultural Exchange and Globalization

Eastern and Western fashion engage in cross-cultural exchange, influence and learn from each other on a global scale. Globalization has led to the widespread dissemination of fashion from different cultures on a global scale, forming a diversified pattern in the fashion industry.

2.2.3.4 The Impact of Media and Social Networks

Media and social networks have a profound impact on the fashion industry. Fashion magazines, TV programs, fashion bloggers, and social media platforms have become important channels for fashion information dissemination, promoting the formation and dissemination of fashion trends.

2.2.3.5 Commercialization of Fashion Products

The commercialization of the fashion industry has made fashion a commodity and consumer goods. The operation of fashion brands, fashion retailers, and the fashion market has promoted the promotion and popularization of fashion products.

2.2.3.6 Modern Technology and Digitization

The development of modern technology and digitization has had a huge impact on the fashion industry. The application of 3D printing technology, virtual reality, and augmented reality has driven innovation in fashion design and production, while the popularity of the internet and social media has changed the way fashion is disseminated and consumed.

In summary, the development and influence of Eastern and Western fashion are influenced by the integration of cultural traditions and modernization, social changes and the spirit of the times, cross- cultural communication and globalization, the influence of media and social networks, the commercialization of fashion products, as well as the comprehensive effects of modern technology and digitization. These factors together shape the unique charm of Eastern and Western fashion and make fashion a constantly changing and evolving global cultural phenomenon.

2.3 The Impact of the Z Era on the Fashion Industry

2.3.1 The Impact of Generation Z on Fashion

The Z era, also known as the millennials or post millennials, refers to the generation born between 1995 and 2010. As an emerging consumer group, the Z era has had a profound impact on the fashion industry. Their aesthetic concepts, consumption habits, and social behaviors have led to the continuous evolution and innovation of the fashion industry.

2.3.1.1 Digital Fashion Consumption

Generation Z is the digital native generation, living in the digital and internet era. Through smartphones and social media platforms, Generation Z can access real-time fashion information, trends, and brand information. They share fashion styles through online shopping and social media, forming a virtual community of fashion culture. This digital fashion consumption model has prompted fashion brands and retailers to strengthen online sales and social media marketing.

2.3.1.2 Advocate for Sustainable Fashion

Generation Z pays more attention to environmental protection and social responsibility, and advocates for sustainable fashion. They are more inclined to support fashion brands that focus on environmental protection and sustainability, focusing on the brand's production process and environmental commitment. This drives the fashion industry towards a more environmentally friendly and morally responsible direction.

2.3.1.3 Promote Individuality and Diversity

Generation Z emphasizes individuality and self-expression, and they are good at drawing inspiration from different cultures and eras to form diverse fashion styles. They are willing to try different fashion styles, break traditional fashion constraints, and pursue unique fashion taste.

2.3.1.4 Impact on the Fashion Industry and Design

The changes in aesthetic values and needs of Generation Z have an impact on the fashion industry and designers. Fashion brands and designers need to pay closer attention to the preferences and needs of Generation Z, creating products and fashion experiences that align with their aesthetics.

2.3.1.5 Social Media and Fashion Influence

Generation Z actively shares their fashion outfits and shopping experiences on social media, becoming an important source of fashion influence. The increasing influence of fashion bloggers and social media fashion influencers is influencing the fashion choices and purchasing behavior of Generation Z.

2.3.2 Characteristics of Consumer Behavior in Generation Z

The consumption behavior characteristics of Generation Z are influenced by their unique social background and values. The following are the main consumer behavior characteristics of Generation Z.

2.3.2.1 Online Shopping and Consumption

Generation Z is a digital natives who are accustomed to shopping through the internet and mobile applications. Online shopping and consumption provide them with more choices and convenience. They enjoy browsing products through online platforms, comparing prices, and obtaining shopping inspiration on social media.

2.3.2.2 Focus on Quality and Experience

Although Generation Z is passionate about fast fashion, they also value quality and experience. They tend to purchase high-quality products and are more willing to pay for high-quality fashion items. At the same time, they also focus on the shopping experience, including brand services, shopping environment, and after-sales support.

2.3.2.3 Support Sustainable Fashion

Generation Z pays more attention to environmental protection and social responsibility, advocating for sustainable fashion. They are more inclined to support fashion brands that focus on environmental protection and sustainability, and choose to purchase products that meet environmental standards.

2.3.2.4 Good at Discovering Discounts

Generation Z is good at finding discounts and discounts when shopping, and they are happy to purchase fashion items through promotional activities and coupons. Discounts and promotional activities have a significant impact on their purchasing decisions.

2.3.2.5 Support for Personalized Brands

Generation Z is passionate about personalized and unique products, and they tend to support independent designers and personalized brands. They are willing to purchase handmade and storytelling products, pursuing a unique fashion style.

2.3.2.6 Cross Border Shopping and Trend Following

Generation Z is good at cross-border shopping, and they can choose products from both fast fashion and luxury brands. They are willing to follow fashion trends and learn about the latest fashion trends through social media and fashion information.

Therefore, the consumer behavior characteristics of Generation Z include online shopping and consumption, emphasis on quality and experience, support for sustainable fashion, good at discovering discounts, support for personalized brands, and cross-border shopping and trend following. These characteristics enable the fashion industry to continuously adjust and innovate to meet the needs and preferences of Generation Z consumers.

3 Discussion and Development

3.1 The Fashion Preferences of Generation Z

Generation Z, a pivotal consumer group in today's fashion landscape, wields a distinctive set of fashion preferences that reverberates across the entire industry [33]. This section delves into the multifaceted aspects of Generation Z's fashion inclinations, examining both their characteristics and overarching trends.

3.1.1 Characteristics and Trends of Fashion Preferences

Generation Z exhibits a myriad of unique characteristics and burgeoning trends in their fashion preferences. Foremost among these is their ardent pursuit of personalized fashion styles. Unlike their predecessors, Generation Z views fashion as a profound extension of their identity, opting for diverse and personalized clothing that transcends traditional aesthetic norms. Their online shopping behavior distinguishes them from their predecessors; while Generation Y engages in product exploration without finalizing purchases, Generation Z, spending a substantial amount of time on social media and online shopping, displays higher engagement and exposure rates [34].

Moreover, Generation Z showcases a pronounced inclination towards sustainability in their fashion choices. Ethical considerations and environmental responsibility play a pivotal role in their decision-making process, leading them to favor brands that champion eco-friendly materials and exhibit a strong sense of social responsibility [35]. This sustainability-focused preference not only mirrors Generation Z's societal and environmental concerns but also propels the fashion industry toward a more sustainable trajectory.

Born into a world dominated by technology, the internet, and social media, Generation Z in Pakistan epitomizes accelerated information processing capabilities. Actively utilizing social media platforms, these consumers forge connections with both local and international users and brands, facilitating the exchange of information, photos, videos, ideas, and opinions on a global scale.

Despite their collectivist tendencies, Generation Z in Pakistan manifests strong individualistic traits, portraying themselves as confident, capable, and multilingual consumers [36].

Concerning clothing categories, Generation Z distinctly pursues comfort and versatility. Blending casual and fashionable styles, they emphasize the practicality of clothing, aligning with their fast- paced daily lives [37]. Furthermore, Generation Z's penchant for accessories becomes apparent as they use unique embellishments to inject vibrancy into their attire, underscoring their desire for self-expression [38].

3.1.2 Analysis of Influencing Factors

The fashion preferences of Generation Z are shaped by a multitude of factors, with cultural background standing out as a key influencer. Variances in aesthetic tastes and fashion inclinations among Generation Z members from different regions and cultural contexts contribute to the emergence of distinct fashion trends and styles in various locales.

Another pivotal factor impacting Generation Z's fashion choices is the element of time risk. In the realm of online shopping, time exhaustion becomes a critical concern [39]. This phenomenon encompasses the inconvenience associated with online transactions, exacerbated by navigation challenges, order submission difficulties, and delayed product delivery [40]. Time risk encompasses the duration customers spend on making a purchase, the logistical time and cost involved in product transportation, and the time allocated to browsing product information [41].

The pervasive influence of social media constitutes another significant aspect of Generation Z's fashion landscape [42]. Social media platforms serve as integral channels for Generation Z to draw fashion inspiration, share outfits, and stay informed about brands. The reach of celebrities and influencers has expanded rapidly through social media dissemination, exerting a substantial impact on the fashion choices of Generation Z [43]. Under the influence of influencers, Generation Z has received many suggestions for clothing matching, but it has also developed overconsumption behavior under marketing guidance.

In the context of the influence of social media, Generation Z has received a large number of clothing matching suggestions under the guidance of influencers. However, this has also raised some issues, one of which is overconsumption. On social media, brands and opinion leaders use marketing tactics to induce Generation Z to engage in excessive consumption behavior.

For example, some brands may create a sense of urgency and encourage Generation Z users to make purchasing decisions in a short period of time through discount promotions, limited time specials, and other means. This shopping behavior may not be based on actual needs, but is more influenced by trends and opinion leaders on social media, leading to the phenomenon of excessive consumption.

Taking the "fast fashion" brand Zara as an example, it cleverly utilizes social media platforms, especially Instagram, Weio, and Tiktok, to establish close connections with Generation Z. Zara's Instagram page shares daily new product listings, pairing suggestions, fashion events, promotions, and more, attracting a large number of young users. Through its release on Instagram, Zara is able to create a sense of urgency, making users feel that each season's fashion is unique. It stimulates users' shopping impulse through social media marketing strategies such as limited time promotions, limited edition releases, etc.

However, such a strategy may also lead to the problem of excessive consumption. Zara's rapid updates and unique design may lead users to over shopping while chasing trends, resulting in products being perceived as no longer fashionable in a short period of time, thus forming a "fast fashion" model. This phenomenon not only poses a challenge to the economic situation of Generation Z, but also raises concerns about sustainability and negative social impacts.

In essence, the fashion preferences of Generation Z are not solely reflective of individual aesthetic pursuits; they are intricately interwoven with diverse factors such as culture, social media, and environmental awareness. A nuanced understanding of these influencing factors not only aids the fashion industry in better catering to the needs of Generation Z but also unveils potential trajectories for future fashion trends. However, although social media provides a convenient way for Generation Z to access fashion information, it is also necessary to pay attention to possible overconsumption behaviors on this platform to ensure that fashion choices are more rational and sustainable.

3.2 The Impact of Generation Z on the Fashion Industry

The distinctive fashion preferences of Generation Z resonate not only at the individual level but cast a profound influence on the broader Eastern and Western fashion landscape. This section delves into the industry's adaptability and brand communication strategies to align with the preferences of Generation Z.

3.2.1 Adaptability of the Fashion Industry

Fashion brands have proactively responded to the unique needs and tastes of Generation Z, initiating adjustments in their product strategies to incorporate more personalized and diverse designs [44]. Recognizing Generation Z's inclination towards customization, some brands have introduced tailored options, enabling consumers to personalize clothing styles, colors, and patterns according to their preferences [47]. This bespoke approach resonates strongly with Generation Z's fashion ethos.

Moreover, the evolving retail landscape reflects Generation Z's changing shopping expectations, compelling retailers to innovate. The emphasis on integrating online and offline experiences has prompted brands to diversify shopping methods (Baykal, 2020). Technological advancements, such as virtual fitting rooms and augmented reality, have been embraced to elevate consumers' shopping experiences [46]. Concurrently, retailers are fostering more social shopping environments, meeting Generation Z's desire to share shopping experiences with friends [48].

The surge in Generation Z's concern for sustainability and environmental protection has catalyzed a transformation in the fashion industry. Fashion brands are increasingly incorporating environmentally friendly materials [49], launching sustainable collections, and organizing themed fashion shows centered around sustainability [50]. The advocacy for sustainable fashion mirrors Generation Z's values and propels the entire industry towards a more sustainable trajectory. This collective industry shift aligns with the evolving priorities of Generation Z and underscores the industry's commitment to a sustainable future.

3.2.2 Brand and Communication

Fashion brands have adeptly leveraged social media platforms to establish robust connections with Generation Z. Through diverse social media channels, brands disseminate fashion news, share brand narratives, and offer style inspirations [48]. This dynamic engagement strategy facilitates direct interaction, fostering a closer brand-consumer relationship [53].

Recognizing Generation Z's reliance on digitization and mobile platforms, brands have implemented digital communication strategies to provide convenient shopping experiences. Mobile applications, online stores, and virtual experiences are tailored to meet the preferences of Generation Z. Mobile applications, for instance, enable consumers to effortlessly browse and purchase fashion products at their convenience, aligning seamlessly with the on-the-go lifestyle of Generation Z [50].

Moreover, content marketing emerges as a pivotal strategy to captivate Generation Z. Brands curate compelling content such as fashion tutorials, styling advice, and collaborations with celebrity bloggers. Beyond merely selling products, this approach cultivates meaningful interaction and trust between brands and consumers.

The interaction between brands and social media has played a crucial role in shaping the fashion concept of Generation Z. Taking Nike as an example, the brand is adept at utilizing social media platforms to directly interact with young users. By posting engaging stories, unique video ads, and challenging activities on platforms such as Instagram and Twitter [51].

Therefore, the fusion of social media dynamics, digital communication strategies, and content marketing not only aligns with the lifestyle and preferences of Generation Z but also accentuates the evolving role of brands in fostering genuine connections and community engagement. However, when measuring the relationship between brands and social media, people should carefully weigh their positive and negative aspects. Social media is a double-edged sword, providing opportunities for brands to spread widely and potentially causing public fatigue towards advertising and brands.

In the future, brands need to consider more carefully how to showcase themselves on social media to balance promotion and authenticity, in order to win the trust of Generation Z.

3.3 The Impact of Social Media on the Fashion Preferences of Generation Z

Social media stands as a pivotal force in shaping contemporary fashion culture and consumer behaviors, wielding significant influence, particularly in the fashion choices and decisions of Generation Z [57]. This section delves into the multifaceted role of social media, emphasizing its guidance on fashion consumption and the intricate relationship between Generation Z, brands, and social media marketing.

3.3.1 Social Media's Guidance on Fashion Consumption

In the realm of social media, fashion influencers, bloggers, and internet celebrities wield unparalleled influence. Through the dissemination and sharing of fashion-centric content, they offer substantial inspiration and shopping recommendations to Generation Z. The active pursuit of these fashion influencers on social media platforms has positioned them as significant trendsetters, significantly shaping the fashion inclinations and consumption choices of Generation Z [54].

However, it should be noted that fashion influencers have both positive and multiple potential negative impacts. On the positive side, fashion influencers provide unique fashion inspiration for Generation Z by sharing innovative fashion concepts and personalized combinations. Their recommendations and pairing suggestions make it easier for young people to find fashionable items that match their personal taste.

However, negative aspects include excessive consumption, social pressure, and a lack of objectivity.

Firstly, recommendations from fashion influencers may lead to excessive shopping by Generation Z, pursuing short-term trends rather than long-term investments. Young people may be influenced by fast fashion culture, frequently purchasing cheap items, leading to waste and excessive consumption of resources.

In addition, the idealized lifestyle and attire exhibited by fashion influencers may cause social pressure on Generation Z, making them feel the need to meet certain standards. This may lead to identity anxiety and self-esteem issues, especially when young people feel that they cannot achieve the "perfect" lifestyle and appearance presented by fashion influencers.

Finally, some fashion influencers may accept brand sponsorship, which may lead to a lack of objectivity in their opinions. This may make their recommendations more biased towards sponsor products rather than truly meeting the actual needs of Generation Z.

These negative impacts emphasize the importance of caution when obtaining fashion information on social media to avoid unsustainable shopping behavior and mental health issues

Social media platforms serve as a dynamic stage for Generation Z to showcase their individuality and aesthetic preferences [55]. Through sharing their clothing ensembles and fashion insights, individuals within this generation express their unique styles. The interactive nature of social media not only fosters personalized fashion choices among Generation Z but also encourages experimentation with diverse styles and brands [56]. This platform- driven interactivity contributes to a rich tapestry of fashion diversity, further influencing the evolving preferences and choices of Generation Z.

3.3.2 Brand and Social Media Marketing

Fashion brands actively leverage social media platforms as a dynamic conduit for establishing robust connections with Generation Z. Through the strategic deployment of fashion content, story sharing, and interactive engagements, brands successfully foster intimate relationships with consumers [57]. The existence of brand-centric social media channels stands out as a primary avenue through which Generation Z acquires brand information and stays abreast of the latest fashion trends.

Brands employ a diverse array of fashion marketing strategies on social media, including collaborative initiatives, promotional discounts, participation in fashion weeks, and the introduction of fashion challenges [58]. These strategies are adeptly designed to capture the attention and engagement of Generation Z. The inherently interactive and shareable nature of social media ensures the swift dissemination of these marketing campaigns, thereby catalyzing the formation of trending fashion discussions and exerting a widespread influence on a larger consumer base [59].

The ascendance of social media has not merely transformed the communication landscape within the fashion industry. It has profoundly reshaped consumers' perceptions of fashion and their shopping behaviors. As the primary denizens of social media, Generation Z's attitudes and choices in the realm of fashion have been significantly molded by these platforms. Simultaneously, Generation Z has emerged as an indispensable force that commands attention within the fashion industry, profoundly influencing both social media and the broader fashion landscape.

3.4 Integration of Eastern and Western Fashion

Fashion, as a global cultural phenomenon, has ignited a vibrant tapestry of interactions in the amalgamation of Eastern and Western fashion [60]. This section delves into two primary facets: the cross-cultural influence and the globalization of the fashion industry. Through this exploration, we aim to dissect the reciprocal relationship between Eastern and Western fashion and its impact on the global fashion landscape.

3.4.1 Cross Cultural Influence

The interplay between Eastern and Western fashion is characterized by a reciprocal exchange of influences and references, resonating across the globe [61]. Generation Z stands as a testament to the seamless integration and acceptance of Eastern and Western fashion elements, resulting in the emergence of cross-cultural fashion trends [62]. Noteworthy instances include the infusion of traditional Eastern elements into Western fashion or the reinterpretation of Western trends within Eastern fashion contexts.

Cross cultural influence has given rise to new fashion trends and styles. The fusion of Eastern and Western fashion has generated diverse creativity and created more diverse fashion choices [63]. This reflects the fashion trend of cultural diversity and integrated innovation in the context of globalization.

3.4.2 Globalization of Fashion Industry

The globalization of the fashion industry is marked by distinctive characteristics that echo on a global scale, ushering in a new era of interconnectedness between Eastern and Western fashion enterprises. This section unravels the intricacies of this global phenomenon, shedding light on the evolving dynamics of cooperation, competition, and interaction within the Eastern and Western fashion domains.

3.4.2.1 Characteristics of the Global Fashion Industry

The fashion industry, once confined by geographical boundaries, is now undergoing a profound process of globalization [64]. The symbiotic relationship between the Eastern and Western fashion industries is progressively intensifying. This globalization not only broadens the spectrum of available fashion products but also serves as a catalyst for innovation and advancement within the fashion realm. The interconnectedness forged by globalization has become a cornerstone in shaping the contemporary landscape of the fashion industry.

3.4.2.2 Development Trends and Cooperation

As the global fashion industry charts its course, a discernible trend towards diversification comes to the fore. Brands and designers, cognizant of the richness embedded in different cultural backgrounds, actively seek collaborative opportunities, giving rise to unique joint designs that transcend cultural boundaries. Simultaneously, globalization acts as a facilitator, propelling the promotion and dissemination of the fashion industry across disparate countries and regions. The ensuing cross-pollination of ideas and styles contributes to the vibrant mosaic of global fashion.

The exchange and integration of Eastern and Western fashion not only serve to enrich the tapestry of fashion diversity but also catalyze the accelerated development of the global fashion industry. This amalgamation, characterized not merely as a collision of cultures but as a force of innovation, unfurls unprecedented opportunities for the progressive evolution of the fashion industry.

3.5 The Sustained Impact of Future Generations on the Fashion Industry

The influence of future generations on the fashion industry is poised to be enduring, exerting a transformative effect on the very fabric of fashion. This section delves into the potential trajectories of this impact, focusing on trend prediction and the innovative cross-border integration that future generations are expected to usher in.

3.5.1 Trend Prediction and Innovation

3.5.1.1 Shaping of Emerging Trends

The idiosyncratic fashion preferences of upcoming generations are destined to be the harbinger of new trends. By keenly observing the aesthetic proclivities and behavioral nuances of contemporary teenagers, one can discern the contours of the trends they are poised to spearhead. These trends encompass not only diverse clothing styles but also extend to the realm of accessory design, encapsulating the evolving preferences that will define the fashion landscape.

3.5.1.2 Innovation in Cross-Border Integration

Future generations are characterized by more open and diverse cultural perspectives, fostering a climate conducive to cross-border integration. This propensity to embrace and meld different cultural elements is expected to catalyze innovation in the fashion domain. Designers and brands, attuned to this cultural synthesis, will embark on a journey of integrating diverse cultural motifs into their creations. The outcome is anticipated to be a tapestry of unique fashion, woven from the threads of varied cultural influences, marking a departure from conventional norms.

The sustained impact of future generations on the fashion industry is not merely confined to the cyclical nature of trends but extends into the realm of cultural amalgamation, promising a future where innovation is the hallmark of fashion evolution.

3.5.2 Environmental Protection and Sustainability

The commitment to environmental protection and sustainability among future generations is poised to undergo profound development, shaping the trajectory of the fashion industry. This section illuminates the nuanced dimensions of this impact, with a focus on the in-depth development of sustainable fashion and the transformative changes anticipated in supply chain dynamics and production methods.

3.5.2.1 In-Depth Development of Sustainable Fashion

Future generations are expected to delve even deeper into the realms of environmental protection and sustainable fashion. Their heightened consciousness may manifest in a discerning preference for products crafted from environmentally friendly materials. This conscientious choice aligns with a broader commitment to support brands and projects that intertwine sustainability with style. The synthesis of fashion and eco-consciousness will likely become an integral aspect of the fashion landscape, steering the industry toward a more responsible and sustainable future.

3.5.2.2 Changes in Supply Chain and Production Modes

The sustainable ethos embraced by future generations is anticipated to reverberate throughout the fashion industry's supply chain and production modes. Brands and manufacturers, responding to the eco-centric demands of their clientele, may pivot towards more environmentally friendly production methods. This shift could encompass a concerted effort to minimize waste, heralding an era where the principles of a circular economy take precedence. By reimagining traditional production models, the fashion industry stands to embark on a trajectory marked by enhanced sustainability andreduced environmental impact.

In summary, the environmental conscientiousness of future generations is poised to catalyze a profound evolution in the fashion industry, propelling it towards sustainable practices and a circular economy. The commitment to eco-friendly materials and production methods heralds a future where fashion seamlessly integrates with environmental responsibility.

3.5.3 Fashion Technology and Digitalization

The trajectory of the fashion industry is poised for a paradigm shift as future generations embrace fashion technology and the era of digitalization. This section delineates the unfolding landscape of digital fashion and the anticipated breakthroughs in integrating online and offline services, underpinned by case studies that underscore these transformative trends.

3.5.3.1 Flourishing Development of Digital Fashion

The burgeoning interest of future generations in fashion technology is steering the industry towards the flourishing development of digital fashion. Concepts such as virtual fitting, augmented reality shopping experiences, and intelligent wearability are anticipated to take center stage, fundamentally altering the way individuals engage with and consume fashion. As Generation Z displays an intrinsic awareness of product personalization and uniqueness, their proclivity towards sustainable products is poised to further catalyze the integration of eco-consciousness into the digital fashion realm [35].

3.5.3.2 Integration of Online and Offline Services

In the digital age embraced by future generations, the demarcation between online and offline experiences is expected to blur. Brands and retailers are at the forefront of innovative initiatives, seeking to seamlessly integrate these realms to provide consumers with a comprehensive and interactive shopping experience. As Generation Z increasingly favors online shopping due to factors like convenience and cost-efficiency, this trend is accentuated by global events such as the COVID- 19 pandemic, which has accelerated the shift towards online retail [35]. The case of Generation Z consumers in Pakistan exemplifies the swift adoption of social media platforms, emphasizing the pivotal role of technology in shaping their consumer behaviors and preferences [36].

The experiences of Generation Z illuminate the transformative impact of digitalization on consumer behavior. Notably, the phenomenon of time risk, a critical factor influencing online purchasing behavior, underscores the importance of streamlining digital transactions for enhanced user experiences [39]. As the fashion industry aligns with the preferences and proclivities of these digitally-savvy consumers, understanding and mitigating time-related challenges becomes paramount for sustained engagement.

Thus, the confluence of fashion technology and digitalization is reshaping the industry landscape.

The fusion of online and offline services and the dynamic evolution of digital fashion are not

merely trends but represent a fundamental shift in the way future generations perceive, interact with, and contribute to the ever-evolving world of fashion.

4 Conclusion

This article conducts an in-depth study on the influence of Generation Z in the fashion industry, exploring their fashion preferences, cultural influence, social media usage, and environmental awareness, revealing the profound impact of this consumer group on the fashion industry.

Firstly, regarding the fashion preferences of Generation Z. Through analysis and research, it was found that Generation Z has a strong pursuit of personalization, emphasizing diversity, social responsibility, and inclusivity. These unique traits directly shape their preferences and consumer behavior in the fashion industry. Therefore, Generation Z's preference for fashion is diverse, personalized, and emphasizes social responsibility.

Secondly, regarding the impact of Generation Z on the fashion industry in both the East and the West. This article elaborates on the positive role of Generation Z in cross-cultural communication and the globalized fashion industry. Through in-depth research on the communication and integration of Eastern and Western fashion, it was found that the fashion preferences of Generation Z directly drive the overall adjustment and innovation of fashion brands, retailers, and the fashion industry.

Finally, regarding the sustained impact of the future generation on the fashion industry. Based on the analysis of future trends, we have found that the next generation will continue to lead new fashion trends, emphasizing environmental protection, sustainability, and digital development.

Therefore, the future generation will have a lasting impact on the fashion trends in the fashion industry.

Overall, the unique fashion concepts and values of Generation Z are shaping the future of global fashion. The fashion industry needs to closely monitor the trends of this consumer group to ensure the sustainability and innovative development of the industry. By deeply understanding and responding to the needs of Generation Z, the fashion industry can better adapt to future challenges and opportunities.


References

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[2]. Roach-Higgins, E., & Ellen, J. B. M. (1995). Dress and identity. Fairchild Publications.

[3]. Sproles, G. B. (1981). Analyzing fashion life cycles—Principles and perspectives. Journal of Marketing, 45(4), 116-124.

[4]. Akilu, N. S., & Junaidu, A. S. (2015). The intersection of self-actualization, entrepreneurship and transformational leadership: A review of Maslow’s perspective of eupsychian management. American Journal of Trade and Policy, 2(2), 93-100.

[5]. Koda, H., & Bolton, A. (2006). Dangerous liaisons: Fashion and furniture in the eighteenth century. Metropolitan Museum of Art.

[6]. Spiegel, M. (2011). Adornment in the afterlife of Victorian fashion. In Fashion in film (pp. 181-202).

[7]. Lazaro, D. E. (2015). Dior’s new (England) look: A context for American adoption of the corolle aesthetic, 1947–1948. Dress, 41(2), 95-106.

[8]. Osumare, H. (2001). Beat streets in the global hood: Connective marginalities of the hip hop globe. The Journal of American Culture, 24(1/2), 171.

[9]. Bhardwaj, V., & Fairhurst, A. (2010). Fast fashion: Response to changes in the fashion industry. The International Review of Retail, Distribution and Consumer Research, 20(1), 165-173.

[10]. Rathore, B. (2018). Allure of style: The impact of contemporary fashion marketing on consumer behaviour. International Journal of New Media Studies: International Peer Reviewed Scholarly Indexed Journal, 5(2), 10-21.

[11]. Inglehart, R. (2020). Modernization and postmodernization: Cultural, economic, and political change in 43 societies. Princeton University Press.

[12]. Cunningham, P. A. (2003). Reforming women's fashion, 1850-1920: Politics, health, and art. Kent State University Press.

[13]. Roberts, M. L. (1993). Samson and Delilah revisited: The politics of women's fashion in 1920s France. The American Historical Review, 98(3), 657-684.

[14]. Kaya, A. P. D. Ö. (2021). Futuristic designs in fashion. In 9th International Conference on Culture and Civilization (pp. 145-155).

[15]. Armstrong, M. (2014). Swinging Britain: Fashion in the 1960s. Bloomsbury Publishing.

[16]. Pedroni, M. (2023). Two decades of fashion blogging and influencing: A critical overview. Fashion Theory, 27(2), 237-268.

[17]. Niinimäki, K. (2015). Ethical foundations in sustainable fashion. Textiles and Clothing Sustainability, 1, 1-11.

[18]. Marcangeli, S. (2015). Undressing the power of fashion: The semiotic evolution of gender identity by Coco Chanel and Alexander McQueen.

[19]. Paoletti, J. B. (2015). Sex and unisex: Fashion, feminism, and the sexual revolution. Indiana University Press.

[20]. Dunn, K. (2016). Global punk: Resistance and rebellion in everyday life. Bloomsbury Publishing USA.

[21]. English, B. (2011). Japanese fashion designers: The work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. Berg.

[22]. Guo, S., & Xiao, J. (2022, January). Research on the influence of Chinese aesthetics on fashion design. In 2021 International Conference on Public Art and Human Development (ICPAHD 2021) (pp. 76-79). Atlantis Press.

[23]. Coscieme, L., Manshoven, S., Gillabel, J., Grossi, F., & Mortensen, L. F. (2022). A framework of circular business models for fashion and textiles: The role of business-model, technical, and social innovation. Sustainability: Science, Practice and Policy, 18(1), 451-462.

[24]. Fang, G., Fu, Y., & Peng, L. (2023). Wabi-sabi style: The collision of the East and West, the combination of the fashion and the nature. Journal of Education, Humanities and Social Sciences, 8, 2499-2505.

[25]. Baumgarten, L. (2002). What clothes reveal: The language of clothing in colonial and federal America: The Colonial Williamsburg Collection. Yale University Press.

[26]. Comaroff, J. (2002). The empire’s old clothes: Fashioning the colonial subject. In Cross-cultural consumption (pp. 29-48). Routledge.

[27]. Kymlicka, W. (2010). The rise and fall of multiculturalism? New debates on inclusion and accommodation in diverse societies. International Social Science Journal, 61(199), 97-112.

[28]. Farber, L. (2010). Africanising hybridity? Toward an Afropolitan aesthetic in contemporary South African fashion design. Critical Arts: A Journal of South-North Cultural Studies, 24(1), 128-167.

[29]. Usunier, J. C. (1998). International and cross-cultural management research. Sage.

[30]. Bi, R., & Yang, J. (2022). Exploration on the training mode of fashion design education talents in the context of cultural heritage. Art and Design Review, 10(4), 495-506.

[31]. Gerlitz, L., & Prause, G. K. (2021). Cultural and creative industries as innovation and sustainable transition brokers in the Baltic Sea region: A strong tribute to sustainable macro-regional development. Sustainability, 13(17), 9742.

[32]. Breward, C. (2003). Fashion. Oxford University Press, USA.

[33]. Flodemark, C., & Zumbuehl, R. (2021). Generation Z’s perceived value of customised fashion: A mixed method approach.

[34]. Muralidhar, A., & Raja, A. S. (2019). Understanding the purchase intention characteristics of Gen Y and Gen Z and introspecting the modern demand variables in fashion industry. International Journal of Scientific and Engineering Research, 10(12), 144-170.

[35]. Wang, W. (2021). How has the fashion industry reacted to Gen Z’s completely different consumption concepts and shopping habits. Academic Journal of Humanities & Social Sciences, 4(10), 72-80.

[36]. Jamal, A. (2020). Generation Z in Pakistan: Individualistic and collectivist in orientation. In The new Generation Z in Asia: Dynamics, differences, digitalisation (pp. 105-117). Emerald Publishing Limited.

[37]. Qiu, T. (2021). Into the soul journey. Design garment for the generation Z.

[38]. Jain, V., Vatsa, R., & Jagani, K. (2014). Exploring generation Z's purchase behavior towards luxury apparel: A conceptual framework. Romanian Journal of Marketing, (2), 18.

[39]. El-Deeb, S., & Hamed, S. (2019). Refining scales on risks and motives of online buying. E-service Journal, 11(1), 31-55.

[40]. Akoi, S., Ali, B. J., Saleh, P. F., Najmalddin, B., Mustafa, R. S., Abdulmajid, M. R., & Hama, A. R. (2021). Elaborating the characteristics that affect buyers in online shopping: The case of Generation Z girls in Kurdistan Region of Iraq. Black Sea Journal of Management and Marketing, 2(1), 5-20.

[41]. Moe, W. W. (2003). Buying, searching, or browsing: Differentiating between online shoppers using in-store navigational clickstream. Journal of Consumer Psychology, 13(1-2), 29-39.

[42]. Wang, N. (2017). We’re all in this together!: Examining the effect of peer pressure on eco-fashion consumption between Generation Z and Generation Y (Doctoral dissertation).

[43]. Helal, G., Ozuem, W., & Lancaster, G. (2018). Social media brand perceptions of millennials. International Journal of Retail & Distribution Management, 46(10), 977-998.

[44]. Fromm, J., & Read, A. (2018). Marketing to Gen Z: The rules for reaching this vast—and very different—generation of influencers. Amacom.

[45]. Baykal, B. (2020). Generational differences in omnichannel experience: Rising new segment: Gen Z. In Managing customer experiences in an omnichannel world: Melody of online and offline environments in the customer journey (pp. 117-132). Emerald Publishing Limited.

[46]. Bonetti, F., Warnaby, G., & Quinn, L. (2018). Augmented reality and virtual reality in physical and online retailing: A review, synthesis and research agenda. In Augmented reality and virtual reality: Empowering human, place and business (pp. 119-132). 47.

[47]. Ross, F. (2020). Co-creation via digital fashion technology in new business models for premium product innovation: Case-studies in menswear and womenswear adaptation. In Sustainable business: Concepts, methodologies, tools, and applications (pp. 1147-1172). IGI Global. 48.

[48]. Djafarova, E., & Bowes, T. (2021). ‘Instagram made me buy it’: Generation Z impulse purchases in fashion industry. Journal of Retailing and Consumer Services, 59, 102345. 49.

[49]. Nayak, R., Nguyen, L. V. T., Panwar, T., & Jajpura, L. (2020). Sustainable technologies and processes adapted by fashion brands. In Sustainable technologies for fashion and textiles (pp. 233-248). Woodhead Publishing.

[50]. Siregar, Y., & Kent, A. (2019). Consumer experience of interactive technology in fashion stores. International Journal of Retail & Distribution Management, 47(12), 1318-1335.

[51]. Qin, Y. S. (2020). Fostering brand–consumer interactions in social media: The role of social media uses and gratifications. Journal of Research in Interactive Marketing, 14(3), 337-354.

[52]. Alqaysi, S. J., & Zahari, A. R. (2022). The effect of deceptive brand image on consumer purchase intention: Empirical evidence from Iraqi market. The Journal of Asian Finance, Economics and Business, 9(6), 207-217.

[53]. Luo, N., Zhang, M., Hu, M., & Wang, Y. (2016). How community interactions contribute to harmonious community relationships and customers’ identification in online brand community. International Journal of Information Management, 36(5), 673-685.

[54]. Sarfi, T., Nosrati, S., & Sabzali, M. (2021). The new celebrity economy in cyberspace. Journal of Cyberspace Studies, 5(2), 203-228.

[55]. Dunas, D. V., & Vartanov, S. A. (2020). Emerging digital media culture in Russia: Modeling the media consumption of Generation Z. Journal of Multicultural Discourses, 15(2), 186-203.

[56]. Hazari, S., & Sethna, B. N. (2023). A comparison of lifestyle marketing and brand influencer advertising for Generation Z Instagram users. Journal of Promotion Management, 29(4), 491-534.

[57]. Rathore, B. (2019). Chic strategies: Revolutionizing the industry through innovative fashion marketing. International Journal of New Media Studies: International Peer Reviewed Scholarly Indexed Journal, 6(2), 23-33.

[58]. Singh, S. (2023). Fashion marketing. LWRN Studio.

[59]. Weber, L. (2009). Marketing to the social web: How digital customer communities build your business. John Wiley & Sons.

[60]. English, B. (2013). A cultural history of fashion in the 20th and 21st centuries: From catwalk to sidewalk. A&C Black.

[61]. Steele, V., & Major, J. S. (1999). China chic: East meets west. Yale University Press.

[62]. Beveridge, I. (2020). Intercultural marketing: Theory and practice. Routledge.

[63]. Breward, C. (2003). Fashion. Oxford University Press, USA.

[64]. Geczy, A., & Karaminas, V. (Eds.). (2018). The end of fashion: Clothing and dress in the age of globalization. Bloomsbury Publishing.


Cite this article

Lu,S. (2024). To What Extent Has Generation Z Influenced Fashion Design Trends Looking at China and Western Fashion?. Advances in Humanities Research,8,46-58.

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References

[1]. El-Bassiouny, N. (2018). The hijabi self: Authenticity and transformation in the hijab fashion phenomenon. Journal of Islamic Marketing, 9(2), 296-304.

[2]. Roach-Higgins, E., & Ellen, J. B. M. (1995). Dress and identity. Fairchild Publications.

[3]. Sproles, G. B. (1981). Analyzing fashion life cycles—Principles and perspectives. Journal of Marketing, 45(4), 116-124.

[4]. Akilu, N. S., & Junaidu, A. S. (2015). The intersection of self-actualization, entrepreneurship and transformational leadership: A review of Maslow’s perspective of eupsychian management. American Journal of Trade and Policy, 2(2), 93-100.

[5]. Koda, H., & Bolton, A. (2006). Dangerous liaisons: Fashion and furniture in the eighteenth century. Metropolitan Museum of Art.

[6]. Spiegel, M. (2011). Adornment in the afterlife of Victorian fashion. In Fashion in film (pp. 181-202).

[7]. Lazaro, D. E. (2015). Dior’s new (England) look: A context for American adoption of the corolle aesthetic, 1947–1948. Dress, 41(2), 95-106.

[8]. Osumare, H. (2001). Beat streets in the global hood: Connective marginalities of the hip hop globe. The Journal of American Culture, 24(1/2), 171.

[9]. Bhardwaj, V., & Fairhurst, A. (2010). Fast fashion: Response to changes in the fashion industry. The International Review of Retail, Distribution and Consumer Research, 20(1), 165-173.

[10]. Rathore, B. (2018). Allure of style: The impact of contemporary fashion marketing on consumer behaviour. International Journal of New Media Studies: International Peer Reviewed Scholarly Indexed Journal, 5(2), 10-21.

[11]. Inglehart, R. (2020). Modernization and postmodernization: Cultural, economic, and political change in 43 societies. Princeton University Press.

[12]. Cunningham, P. A. (2003). Reforming women's fashion, 1850-1920: Politics, health, and art. Kent State University Press.

[13]. Roberts, M. L. (1993). Samson and Delilah revisited: The politics of women's fashion in 1920s France. The American Historical Review, 98(3), 657-684.

[14]. Kaya, A. P. D. Ö. (2021). Futuristic designs in fashion. In 9th International Conference on Culture and Civilization (pp. 145-155).

[15]. Armstrong, M. (2014). Swinging Britain: Fashion in the 1960s. Bloomsbury Publishing.

[16]. Pedroni, M. (2023). Two decades of fashion blogging and influencing: A critical overview. Fashion Theory, 27(2), 237-268.

[17]. Niinimäki, K. (2015). Ethical foundations in sustainable fashion. Textiles and Clothing Sustainability, 1, 1-11.

[18]. Marcangeli, S. (2015). Undressing the power of fashion: The semiotic evolution of gender identity by Coco Chanel and Alexander McQueen.

[19]. Paoletti, J. B. (2015). Sex and unisex: Fashion, feminism, and the sexual revolution. Indiana University Press.

[20]. Dunn, K. (2016). Global punk: Resistance and rebellion in everyday life. Bloomsbury Publishing USA.

[21]. English, B. (2011). Japanese fashion designers: The work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. Berg.

[22]. Guo, S., & Xiao, J. (2022, January). Research on the influence of Chinese aesthetics on fashion design. In 2021 International Conference on Public Art and Human Development (ICPAHD 2021) (pp. 76-79). Atlantis Press.

[23]. Coscieme, L., Manshoven, S., Gillabel, J., Grossi, F., & Mortensen, L. F. (2022). A framework of circular business models for fashion and textiles: The role of business-model, technical, and social innovation. Sustainability: Science, Practice and Policy, 18(1), 451-462.

[24]. Fang, G., Fu, Y., & Peng, L. (2023). Wabi-sabi style: The collision of the East and West, the combination of the fashion and the nature. Journal of Education, Humanities and Social Sciences, 8, 2499-2505.

[25]. Baumgarten, L. (2002). What clothes reveal: The language of clothing in colonial and federal America: The Colonial Williamsburg Collection. Yale University Press.

[26]. Comaroff, J. (2002). The empire’s old clothes: Fashioning the colonial subject. In Cross-cultural consumption (pp. 29-48). Routledge.

[27]. Kymlicka, W. (2010). The rise and fall of multiculturalism? New debates on inclusion and accommodation in diverse societies. International Social Science Journal, 61(199), 97-112.

[28]. Farber, L. (2010). Africanising hybridity? Toward an Afropolitan aesthetic in contemporary South African fashion design. Critical Arts: A Journal of South-North Cultural Studies, 24(1), 128-167.

[29]. Usunier, J. C. (1998). International and cross-cultural management research. Sage.

[30]. Bi, R., & Yang, J. (2022). Exploration on the training mode of fashion design education talents in the context of cultural heritage. Art and Design Review, 10(4), 495-506.

[31]. Gerlitz, L., & Prause, G. K. (2021). Cultural and creative industries as innovation and sustainable transition brokers in the Baltic Sea region: A strong tribute to sustainable macro-regional development. Sustainability, 13(17), 9742.

[32]. Breward, C. (2003). Fashion. Oxford University Press, USA.

[33]. Flodemark, C., & Zumbuehl, R. (2021). Generation Z’s perceived value of customised fashion: A mixed method approach.

[34]. Muralidhar, A., & Raja, A. S. (2019). Understanding the purchase intention characteristics of Gen Y and Gen Z and introspecting the modern demand variables in fashion industry. International Journal of Scientific and Engineering Research, 10(12), 144-170.

[35]. Wang, W. (2021). How has the fashion industry reacted to Gen Z’s completely different consumption concepts and shopping habits. Academic Journal of Humanities & Social Sciences, 4(10), 72-80.

[36]. Jamal, A. (2020). Generation Z in Pakistan: Individualistic and collectivist in orientation. In The new Generation Z in Asia: Dynamics, differences, digitalisation (pp. 105-117). Emerald Publishing Limited.

[37]. Qiu, T. (2021). Into the soul journey. Design garment for the generation Z.

[38]. Jain, V., Vatsa, R., & Jagani, K. (2014). Exploring generation Z's purchase behavior towards luxury apparel: A conceptual framework. Romanian Journal of Marketing, (2), 18.

[39]. El-Deeb, S., & Hamed, S. (2019). Refining scales on risks and motives of online buying. E-service Journal, 11(1), 31-55.

[40]. Akoi, S., Ali, B. J., Saleh, P. F., Najmalddin, B., Mustafa, R. S., Abdulmajid, M. R., & Hama, A. R. (2021). Elaborating the characteristics that affect buyers in online shopping: The case of Generation Z girls in Kurdistan Region of Iraq. Black Sea Journal of Management and Marketing, 2(1), 5-20.

[41]. Moe, W. W. (2003). Buying, searching, or browsing: Differentiating between online shoppers using in-store navigational clickstream. Journal of Consumer Psychology, 13(1-2), 29-39.

[42]. Wang, N. (2017). We’re all in this together!: Examining the effect of peer pressure on eco-fashion consumption between Generation Z and Generation Y (Doctoral dissertation).

[43]. Helal, G., Ozuem, W., & Lancaster, G. (2018). Social media brand perceptions of millennials. International Journal of Retail & Distribution Management, 46(10), 977-998.

[44]. Fromm, J., & Read, A. (2018). Marketing to Gen Z: The rules for reaching this vast—and very different—generation of influencers. Amacom.

[45]. Baykal, B. (2020). Generational differences in omnichannel experience: Rising new segment: Gen Z. In Managing customer experiences in an omnichannel world: Melody of online and offline environments in the customer journey (pp. 117-132). Emerald Publishing Limited.

[46]. Bonetti, F., Warnaby, G., & Quinn, L. (2018). Augmented reality and virtual reality in physical and online retailing: A review, synthesis and research agenda. In Augmented reality and virtual reality: Empowering human, place and business (pp. 119-132). 47.

[47]. Ross, F. (2020). Co-creation via digital fashion technology in new business models for premium product innovation: Case-studies in menswear and womenswear adaptation. In Sustainable business: Concepts, methodologies, tools, and applications (pp. 1147-1172). IGI Global. 48.

[48]. Djafarova, E., & Bowes, T. (2021). ‘Instagram made me buy it’: Generation Z impulse purchases in fashion industry. Journal of Retailing and Consumer Services, 59, 102345. 49.

[49]. Nayak, R., Nguyen, L. V. T., Panwar, T., & Jajpura, L. (2020). Sustainable technologies and processes adapted by fashion brands. In Sustainable technologies for fashion and textiles (pp. 233-248). Woodhead Publishing.

[50]. Siregar, Y., & Kent, A. (2019). Consumer experience of interactive technology in fashion stores. International Journal of Retail & Distribution Management, 47(12), 1318-1335.

[51]. Qin, Y. S. (2020). Fostering brand–consumer interactions in social media: The role of social media uses and gratifications. Journal of Research in Interactive Marketing, 14(3), 337-354.

[52]. Alqaysi, S. J., & Zahari, A. R. (2022). The effect of deceptive brand image on consumer purchase intention: Empirical evidence from Iraqi market. The Journal of Asian Finance, Economics and Business, 9(6), 207-217.

[53]. Luo, N., Zhang, M., Hu, M., & Wang, Y. (2016). How community interactions contribute to harmonious community relationships and customers’ identification in online brand community. International Journal of Information Management, 36(5), 673-685.

[54]. Sarfi, T., Nosrati, S., & Sabzali, M. (2021). The new celebrity economy in cyberspace. Journal of Cyberspace Studies, 5(2), 203-228.

[55]. Dunas, D. V., & Vartanov, S. A. (2020). Emerging digital media culture in Russia: Modeling the media consumption of Generation Z. Journal of Multicultural Discourses, 15(2), 186-203.

[56]. Hazari, S., & Sethna, B. N. (2023). A comparison of lifestyle marketing and brand influencer advertising for Generation Z Instagram users. Journal of Promotion Management, 29(4), 491-534.

[57]. Rathore, B. (2019). Chic strategies: Revolutionizing the industry through innovative fashion marketing. International Journal of New Media Studies: International Peer Reviewed Scholarly Indexed Journal, 6(2), 23-33.

[58]. Singh, S. (2023). Fashion marketing. LWRN Studio.

[59]. Weber, L. (2009). Marketing to the social web: How digital customer communities build your business. John Wiley & Sons.

[60]. English, B. (2013). A cultural history of fashion in the 20th and 21st centuries: From catwalk to sidewalk. A&C Black.

[61]. Steele, V., & Major, J. S. (1999). China chic: East meets west. Yale University Press.

[62]. Beveridge, I. (2020). Intercultural marketing: Theory and practice. Routledge.

[63]. Breward, C. (2003). Fashion. Oxford University Press, USA.

[64]. Geczy, A., & Karaminas, V. (Eds.). (2018). The end of fashion: Clothing and dress in the age of globalization. Bloomsbury Publishing.