Fashion Communication, 1st ed. 2021 Proceedings of the FACTUM 21 Conference, Pamplona, Spain, 2021

Part I: Digitalization in Fashion.- Omni-channel Retailing in the Fashion Industry: Its Definition and Implementation.- Digital Fashion Competences: A Longitudinal Study.- Touch in Text. The Communication of Tactility in Fashion E-Commerce Garment Descriptions.- Symbolic “Entrance” Effects of IoT: Portable Cosmetics Commerce behind the Deep-Link of web.3.0—A Case Study of Social Media Platform Store.- Understanding the Internal and External Drivers and Barriers for Digital Servitization in the European Textile Manufacturing Industry.- Mediatization: Understanding the Rise of Fashion Exhibitions.- Part II: Fashion Communication Strategies.- Fashion Statements. Fashion Communication as an Expression of Artistic, Political, and Social Manifesto between Physical and Digital.- Virgil Abloh’s Contemporary Discourse: An Academic Approach to His Communication Strategies.- Advertising Format Evolution in Fashion Brands’ Communication: Contagious Case Study 2010–2020.- Millennials and Fashion: Branding and Positioning through Digital Interactions.- Digital Fashion Exhibition: Salvatore Ferragamo Museum and Google Arts & Culture.- Harper’s Bazaar en Español (1967): The Failed Attempt to Start a Spanish Edition of Harper’s Bazaar in the 1960s.- Part III: Communicating Sustainability.- Adolfo Domínguez: The Role of Sustainability on the Social Media Engagement in 2020.- Label Conscious: Communicating Verifiable Sustainable Impact by Labelling Garments with Smart Technology.- Building a Prosocial Communication Model in the Fashion Sector, Based on Sustainability and Artificial Intelligence, Derived from COVID-19.- Dressed in Words: Crafting Slow and Fast Fashion Hashtags.- 100 Years of Fashion Activism: From the Women’s Suffrage Movement to the US 2020 Elections.- Rallying Hashtags as a Tool for Societal Change in Fashion.- Intercultural Crisis Communicationon Social Media: A Case from Fashion.- Intangible Heritage: The Change of Significance of Hungarian Embroidery over Time.- Part IV: Fashion Storytelling.- Grunig’s Two-Way Model in the Fashion Films of Chanel N̊ 5: The Film and the One that I Want.- The Revival of Heritage Fashion Houses: Brand Identity in the Digital Era.- Luxury Fashion Storytelling: Branding Performance on Instagram.- Fashion Stories in Rome: Place-Making Narratives Within Fashion Branded City Guides.

Teresa Sádaba is the dean of ISEM Fashion Business School (University of Navarra, Spain), a leading center for research and education in the fashion industry, where she also teaches strategic communication for fashion companies. She is a professor at the University of Navarra and George Washington University (USA) and visiting professor at Université Paris XII (France) and Complutense University (Spain), among others. A Fulbright fellow with Ph.D. in communication, she is an expert on framing issues and strategic communication. Teresa is the author of Framing: Una teoría para los medios de comunicación (2006), Framing: El encuadre de las noticias (2008), and Moda y Marca España (2012). 

 Nadzeya Kalbaska has a Ph.D. in communication sciences and is a lecturer at the Institute of Digital Technologies for Communication, Università della Svizzera italiana (USI, Lugano, Switzerland). She is an academic coordinator of M.Sc. in digitalfashion communication, a joint degree between USI and Université Paris 1 Panthéon-Sorbonne, France, and a group leader of Digital Fashion Communication Research at the USI. Since 2015, she is an adjunct professor at the University of Pisa (Italy). On the practice front, she serves Google within Google Online Marketing Challenge as a part of its Global Academic Panel.

 Francesca Cominelli is an associate professor at the University of Paris 1 Panthéon-Sorbonne (France) and director of Institut de Recherche et d'Études Supérieures du Tourisme (IREST). She holds a Ph.D. in economics and her research interests include economics of culture, cultural commons, public policies, and cultural tourism. More specifically she is interested in cultural diversity, intangible cultural heritage, creativity, innovation, and traditional craftsmanship. Previously, she worked as a project specialist for INMA and the French Ministry of Culture and Communication (2008–2010), and as a research