She has extensive fashion retailing experience and has researched the area of store image and store positioning for both menswear and womenswear. She has submitted a PhD to the Institute for Retailing at Stirling University exploring specialist fashion retailers store positioning strategies. Linda Shearerlectures in fashion and design at Glasgow Caledonian University and leads the Fashion with Management Degree. With an industry background in fashion design, she is currently pursuing an MPhil in Art and Design in Organisational Contexts, at Glasgow School of Art. Her research interests lie in design, fashion semiotics and consumer perceptions of image.

There is a growing imperative to address the negative environmental impact of fashion and an increased awareness of sustainability issues: the sustainable fashion concept (SFC). However, while consumers are becoming more aware and concerned about sustainability, this is not resulting in the purchase of sustainable fashion products in preference to “mainstream” goods. This so‐called attitude–behaviour gap is well documented in academic literature, and yet there is a lack of research into potential methods of disrupting this phenomenon. This study seeks to redress this by examining the potential influence of celebrity institutional entrepreneurs (CIEs) to raise awareness of the SFC and to therefore guide and change consumer behaviour towards more sustainable practice. CIEs are celebrities who use their social position to espouse their values with the intention of influencing institutional habits and behaviours. In this case, Emma Watson is identified as an appropriate and credible proponent, and her @the_press_tour Instagram account was used to examine her influence. A netnographic investigation of this account was conducted in combination with eight in‐depth interviews with account followers to examine attitudes and actions towards sustainable fashion. Findings showed that the account had partial impact on consumer engagement with the SFC in that it led to the participants being more likely to discuss and consider the issues around sustainable fashion; however, it had no significant impact on purchases of sustainable fashion. The study concludes that CIEs can impact the attitudes of mainstream consumers towards sustainable fashion; however, further research is required to determine any long‐term influence.

This is an exploratory study which defines vintage fashion, considers the vintage fashion consumer and evaluates the positioning of the vintage retail store from the perspective of the store proprietor/manager. Design/ methodological approach: The research involved 15 in-depth interviews with vintage fashion retailers. Findings: It is proposed that vintage fashion retailers position and differentiate themselves by their uniqueness; a competitive advantage gained through the knowledge and skills of the owner/manager. Research limitations/implications: This is an exploratory study and as such it is limited to the experiences of 15 vintage fashion retailers. It is, however, part of a larger empirical study. Practical implications: The results of this study provide the basis for futuresearch development in terms of the vintage consumer and consumer behaviour. Originality/value: The development of the vintage concept reveals a paucity of theoretical and empirical research studies. This exploratory research seeks to address this scarcity

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While much is made of the contribution of design to the achievement of competitive advantage within the British fashion retail sector, little attempt has been made to examine the processes in which design is managed, integrated and developed within such companies. With the cooperation of 11 of the UK's most successful fashion retailers, this research identifies that the responsibility for design direction and development has moved from supplier to fashion retailer, in order that the latter can fully exploit and protect the opportunities afforded to them through own‐branding. Suggesting that design control affords greater supply chain control, the research also provides a valuable insight into the varying roles and responsibilities of the designer as well as the differing ways in which the design function is managed by fashion retailers. In addition, the research identifies that for some of the most successful fashion retailers, the contribution of the designer has been extended and his or her creativity incorporated into areas of decision making not traditionally associated with that of the fashion designer.

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The fashion industry has a very narrow approach to diversity of image and there is clear evidence that the industry continues to promote an unhealthy and generic view of body shape, beauty, race and age. We are entering an era where emotion and experience are increasingly important in both personal and professional development. People are looking for diversity, meaning and integrity in what they do and what they buy and are embracing individualism after a prolonged period of mass-market consumption. The Emotional Engagement project aims to explore how specific design elements such as colour, size and style affect consumer behaviour and whether psychological issues related to identity and wellbeing can be fused into fashion to satisfy and comfort the consumer. It also aims to transform current thinking about fashion education and consumption and add a new dimension to the way in which businesses engage with their products, markets and consumers. This project is unique in placing emotional consideration at its core in seeking to examine and question the methods currently adopted throughout the fashion supply chain, particularly those that involve image, such as design and marketing. It takes an inter-disciplinary approach by bringing together areas of science, design, technology, psychology and business. Further, it aims to disseminate best practice by engaging with relevant stakeholders and the wider community and takes an inclusive approach. It is the responsibility of fashion educators to develop in our future fashion designers and influencers, the importance of developing emotional consideration to consumers. The research will ultimately underpin and inform how we educate students to become more aware of the emotional impact of their design messaging and will develop, through creative and exciting educational methods, a sustainable approach to emotional engagement in fashion.

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