Deluxe Media Inc., also known simply as Deluxe and formerly Deluxe Entertainment Services Group, Inc., is an American multinational multimedia and entertainment service provisions company owned by Platinum Equity, founded in 1915 by Hungarian-born American film producer William Fox and headquartered in Burbank, California. The company services multiple clients in the film, television, digital content and advertising industries across the globe, and has been recognized with 10 Academy Awards for scientific and technical achievements, including developments in CinemaScope pictures (as part of 20th Century Fox) and more recently for a process of creating archival separations from digital image data. == History == Deluxe began as a film processing laboratory established in 1915 by William Fox under the name De Luxe as part of his eponymous film conglomerate corporation in Fort Lee, New Jersey. In 1916, Fox Film Corporation opened its studio in Hollywood on 13 acres at Sunset and Western. The first Deluxe film laboratory on the west coast was built on the south side of the lot (Fernwood and Serrano), and the laboratory was moved to the new Fox studios building on Manhattan's west side in 1919, where it remained for over 40 years. The "business manager" (later president) of the laboratory was Alan E. Freedman, who guided the company into the 1960s. In 1927, Fox (Deluxe) received a patent for sound-on-film, the Fox Movietone system. In 1927, "Sunrise: A Song of Two Humans," an early Movietone film, opened. Fox Movietone News, ran weekly in theaters until 1963. During the Great Depression, Fox Film Corporation encountered financial difficulties. Among the actions taken to maintain liquidity, Fox sold the laboratories in 1932 to Freedman, who renamed the operation Deluxe. Under Freedman's leadership, Deluxe added two more plants in Chicago and Toronto. In January 1934, Fox was granted an option to rebuy DeLuxe before December 31, 1938. On 31 May 1935, under Sidney Kent, Fox merged his film company with Twentieth Century Pictures to form The Twentieth Century-Fox Film Corporation following a bank-infused reorganisation. The merged company then exercised this option in July 1936, with Freedman remaining as president. In 1953, Deluxe developed the widescreen format CinemaScope. Titles included "There's No Business Like Show Business" (1954) and "The Seven Year Itch" (1955). Other innovations included the processing and sound striping of CinemaScope, and were patented and/or received Academy awards. In 1962 Freedman retired. In the 1960s, Deluxe closed its New York plant, followed by its plants in Chicago and Toronto, as motion picture production declined on the East Coast. In 1972, Deluxe began large volume videocassette production, with a billion by 1996. In 1990, The Rank Organisation acquired Deluxe from Fox. In 2000, Deluxe began large volume DVD production. In 2006, The Rank Organisation sold Deluxe Film Group to MacAndrews & Forbes, renamed Deluxe Entertainment Services Group. On 9 February 2012, Deluxe acquired Hong Kong–based visual effects and post-production company, Centro Digital Pictures, with its founder John Chu remaining as president while reporting to Alaric McAusland, managing director for Deluxe in Australia. In May 2014, Deluxe shut down its Los Angeles plant at Sunset & Western Studios complex, where other studios themselves were demolished way back in 1971. Also that same year, Deluxe closed the Hollywood film labs, and they gave thousands of orphaned film elements to the Academy Film Archive. The Deluxe Laboratories Collection at the Academy Film Archive consists of over 7,500 35mm and 16mm film elements of various motion pictures dating back to the early 1960s. On 22 April 2015, Deluxe and its longtime competitor, Technicolor S.A., announced that they had entered into a binding agreement to create a new joint venture known as Deluxe Technicolor Digital Cinema which will specialize in cinema mastering, distribution and management services. Deluxe got acquired on 4 September 2019 by creditors in a debt-for-equity swap to avoid bankruptcy. On 3 October 2019, Deluxe filed for bankruptcy, pending in the Southern District of New York. The same month on the 24th, the company received court approval to emerge from bankruptcy with a comprehensive restructuring plan. On July 1, 2020, Platinum Equity agreed to acquire the distribution division of Deluxe and re-unite with former CEO Cyril Drabinsky who would merge CineVizion, a film distribution company he founded after leaving Deluxe in 2016, into it. The companies Company 3 and Method Studios which formed the creative divisions of Deluxe were sold to Framestore in November 2020.
List of computer graphics journals
List of computer graphics journals includes notable peer-reviewed scientific and academic journals that focus on computer graphics, visualization, and related areas such as rendering, animation, image processing, and geometric modeling. == Journals == ACM Transactions on Graphics Computers & Graphics IEEE Computer Graphics and Applications IEEE Transactions on Computer-Aided Design of Integrated Circuits and Systems Graphical Models Journal of Computer Graphics Techniques Presence: Teleoperators and Virtual Environments Virtual Reality Simulation & Gaming
Hybrid argument (cryptography)
In cryptography, the hybrid argument is a proof technique used to show that two distributions are computationally indistinguishable. == History == Hybrid arguments had their origin in a papers by Andrew Yao in 1982 and Shafi Goldwasser and Silvio Micali in 1983. == Formal description == Formally, to show two distributions D1 and D2 are computationally indistinguishable, we can define a sequence of hybrid distributions D1 := H0, H1, ..., Ht =: D2 where t is polynomial in the security parameter n. Define the advantage of any probabilistic efficient (polynomial-bounded time) algorithm A as A d v H i , H i + 1 d i s t ( A ) := | Pr [ x ← $ H i : A ( x ) = 1 ] − Pr [ x ← $ H i + 1 : A ( x ) = 1 ] | , {\displaystyle {\mathsf {Adv}}_{H_{i},H_{i+1}}^{\mathsf {dist}}(\mathbf {A} ):=\left|\Pr[x{\stackrel {\$}{\gets }}H_{i}:\mathbf {A} (x)=1]-\Pr[x{\stackrel {\$}{\gets }}H_{i+1}:\mathbf {A} (x)=1]\right|,} where the dollar symbol ($) denotes that we sample an element from the distribution at random. By triangle inequality, it is clear that for any probabilistic polynomial time algorithm A, A d v D 1 , D 2 d i s t ( A ) ≤ ∑ i = 0 t − 1 A d v H i , H i + 1 d i s t ( A ) . {\displaystyle {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )\leq \sum _{i=0}^{t-1}{\mathsf {Adv}}_{H_{i},H_{i+1}}^{\mathsf {dist}}(\mathbf {A} ).} Thus there must exist some k s.t. 0 ≤ k < t(n) and A d v H k , H k + 1 d i s t ( A ) ≥ A d v D 1 , D 2 d i s t ( A ) / t ( n ) . {\displaystyle {\mathsf {Adv}}_{H_{k},H_{k+1}}^{\mathsf {dist}}(\mathbf {A} )\geq {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )/t(n).} Since t is polynomial-bounded, for any such algorithm A, if we can show that it has a fixed negligible advantage function ε(n) between distributions Hi and Hi+1 for every i, so in particular, ϵ ( n ) ≥ A d v H k , H k + 1 d i s t ( A ) ≥ A d v D 1 , D 2 d i s t ( A ) / t ( n ) , {\displaystyle \epsilon (n)\geq {\mathsf {Adv}}_{H_{k},H_{k+1}}^{\mathsf {dist}}(\mathbf {A} )\geq {\mathsf {Adv}}_{D_{1},D_{2}}^{\mathsf {dist}}(\mathbf {A} )/t(n),} then it immediately follows that its advantage to distinguish the distributions D1 = H0 and D2 = Ht must also be negligible. == Applications == The hybrid argument is extensively used in cryptography. Some simple proofs using hybrid arguments are: If one cannot efficiently predict the next bit of the output of some number generator, then this generator is a pseudorandom number generator (PRG). We can securely expand a PRG with 1-bit output into a PRG with n-bit output.
Social business model
The social business model is use of social media tools and social networking behavioral standards by businesses for communication with customers, suppliers, and others. Combining social networking etiquette (being helpful, transparent and authentic) with business engagement on LinkedIn (for one-to-one interaction), Twitter (for immediacy) and Facebook (for content sharing) more fully involves employees in the organization and increases customer intimacy and trust. == Overview == Traditional business models, particularly in large organizations, have had as one common characteristic careful limitation of direct contact between those within the organization and those outside of it. Only certain specific individuals (most frequently in roles such as sales, customer service and field consulting) were designated as "customer-facing" personnel. Organizations further limited outside access to internal employees through filtering mechanisms such as publishing only a main switchboard number (whether routed through a live receptionist or an interactive voice response system) and generic "sales@" or "info@" email addresses. The Cluetrain Manifesto (written by Rick Levine, Christopher Locke, Doc Searls, and David Weinberger and published in 1999) was among the first books to predict the demise of this old order and the emergence of more open business models, though most of the business world was slow to adopt the book's recommended cultural changes. Thirteen years later, authors Dion Hinchcliffe and Peter Kim added structural underpinnings to the cultural shifts outlined in The Cluetrain Manifesto in their book, Social Business by Design. The book details many of the ways social media tools and practices are being adopted within organizations, to support both internal employee collaboration and external customer engagement (which the authors describe as the "bigger problem"). == Elements == In implementing the social business model, organizations apply social networking protocols and tools in a range of areas, potentially including: Marketing Customer Support Recruiting Crowdsourcing Internal employee collaboration Sales Product Development Supply Chain Operations Investor Relations == Characteristics of organizations adopting the social business model == Organizations that fully adopt the social business model will exhibit four key characteristics: Connected – employees will be able to seamlessly engage one-on-one in real-time with other employees and individuals outside the organization (customers, prospects, partners, media, etc.) using a variety of communications methods including text chat, voice, file sharing, email, and video chat. Social – employees will follow social networking etiquette (being authentic, helpful and transparent) in external interactions. The focus will be on answering questions and providing information rather than overt sales or promotion. Presence – these conversations may originate on the company's website or elsewhere online (e.g., publication websites, industry portals, or social networking sites such as LinkedIn or Facebook). Intelligent – organizations will use in-depth analytics to monitor connections, social interactions and presence; measure corresponding business results; and continually adjust and improve practices for increased effectiveness. == Technical and functional requirements == While much of the change inherent in adopting the social business model is cultural, it also requires process changes enabled by social business technology. Functional requirements for a social business technology platform include: Analytics (including the cost of engagement as well as various measures of return on investment such as leads, sales, referrals, recommendations, and retained customers). Integration with other social media and business tools such as CRM systems, partner relationship management (PRM) software, product development, website analytics, and employee-recruiting applications. Rules-based workflow (e.g. routing a comment to the appropriate individual for a response, based on content). Geolocation (so customers or prospects can be automatically routed to local sales or customer service representatives). Content sharing. Collaboration tools. Transparency (i.e., people should know who they are engaging with) Unified communications (the ability to engage via voice, text, video, email, and share a wide variety of file types) Storage (the ability to store interactions for legal, training, compliance or compensation purposes, and purge stored data when no longer needed based on company policy or regulatory requirements). Immediacy (real-time monitoring and response).
Multistage interconnection networks
Multistage interconnection networks (MINs) are a class of high-speed computer networks usually composed of processing elements (PEs) on one end of the network and memory elements (MEs) on the other end, connected by switching elements (SEs). The switching elements themselves are usually connected to each other in stages, hence the name. MINs are typically used in high-performance or parallel computing as a low-latency interconnection (as opposed to traditional packet switching networks), though they could be implemented on top of a packet switching network. Though the network is typically used for routing purposes, it could also be used as a co-processor to the actual processors for such uses as sorting; cyclic shifting, as in a perfect shuffle network; and bitonic sorting. == Background == Interconnection network are used to connect nodes, where nodes can be a single processor or group of processors, to other nodes. Interconnection networks can be categorized on the basis of their topology. Topology is the pattern in which one node is connected to other nodes. There are two main types of topology: static and dynamic. Static interconnect networks are hard-wired and cannot change their configurations. A regular static interconnect is mainly used in small networks made up of loosely couple nodes. The regular structure signifies that the nodes are arranged in specific shape and the shape is maintained throughout the networks. Some examples of static regular interconnections are: Completely connected network In a mesh network, multiple nodes are connected with each other. Each node in the network is connected to every other node in the network. This arrangement allows proper communication of the data between the nodes. But, there are a lot of communication overheads due to the increased number of node connections. Shared busThis network topology involves connection of the nodes with each other over a bus. Every node communicates with every other node using the bus. The bus utility ensures that no data is sent to the wrong node. But, the bus traffic is an important parameter which can affect the system. RingThis is one of the simplest ways of connecting nodes with each other. The nodes are connected with each other to form a ring. For a node to communicate with some other node, it has to send the messages to its neighbor. Therefore, the data message passes through a series of other nodes before reaching the destination. This involves increased latency in the system. TreeThis topology involves connection of the nodes to form a tree. The nodes are connected to form clusters and the clusters are in-turn connected to form the tree. This methodology causes increased complexity in the network. Hypercube This topology consists of connections of the nodes to form cubes. The nodes are also connected to the nodes on the other cubes. ButterflyThis is one of the most complex connections of the nodes. As the figure suggests, there are nodes which are connected and arranged in terms of their ranks. They are arranged in the form of a matrix. In dynamic interconnect networks, the nodes are interconnected via an array of simple switching elements. This interconnection can then be changed by use of routing algorithms, such that the path from one node to other nodes can be varied. Dynamic interconnections can be classified as: Single stage Interconnect Network Multistage interconnect Network Crossbar switch connections == Crossbar Switch Connections == In crossbar switch, there is a dedicated path from one processor to other processors. Thus, if there are n inputs and m outputs, we will need nm switches to realize a crossbar. As the number of outputs increases, the number of switches increases by factor of n. For large network this will be a problem. An alternative to this scheme is staged switching. == Single Stage Interconnect Network == In a single stage interconnect network, the input nodes are connected to output via a single stage of switches. The figure shows 88 single stage switch using shuffle exchange. As one can see, from a single shuffle, not all input can reach all output. Multiple shuffles are required for all inputs to be connected to all the outputs. == Multistage Interconnect Network == A multistage interconnect network is formed by cascading multiple single stage switches. The switches can then use their own routing algorithm, or be controlled by a centralized router, to form a completely interconnected network. Multistage Interconnect Network can be classified into three types: Non-blocking: A non-blocking network can connect any idle input to any idle output, regardless of the connections already established across the network. Crossbar is an example of this type of network. Rearrangeable non-blocking: This type of network can establish all possible connections between inputs and outputs by rearranging its existing connections. Blocking: This type of network cannot realize all possible connections between inputs and outputs. This is because a connection between one free input to another free output is blocked by an existing connection in the network. The number of switching elements required to realize a non-blocking network in highest, followed by rearrangeable non-blocking. Blocking network uses least switching elements. == Examples == Multiple types of multistage interconnection networks exist. === Omega network === An Omega network consists of multiple stages of 22 switching elements. Each input has a dedicated connection to an output. An NN omega network has log2(N) stages and N/2 switching elements in each stage for a perfect shuffle between stages. Thus the network has complexity of 0(N log(N)). Each switching element can employ its own switching algorithm. Consider an 88 omega network. There are 8! = 40320 1-to-1 mappings from input to output. There are 12 switching element for a total permutation of 2^12 = 4096. Thus, it is a blocking network. === Clos network === A Clos network uses 3 stages to switch from N inputs to N outputs. In the first stage, there are r= N/n crossbar switches and each switch is of size nm. In the second stage there are m switches of size rr and finally the last stage is a mirror of the first stage with r switches of size mn. A clos network will be completely non-blocking if m >= 2n-1. The number of connections, though more than omega network is much less than that of a crossbar network. === Beneš network === A Beneš network is a rearrangeably non-blocking network derived from the clos network by initializing n = m = 2. There are (2log2(N) - 1) stages, with each stage containing N/2 22 crossbar switches. An 88 Beneš network has 5 stages of switching elements, and each stage has 4 switching elements. The center three stages has two 44 benes network. The 44 Beneš network, can connect any input to any output recursively.
Distributed manufacturing
Distributed manufacturing, also known as distributed production, cloud producing, distributed digital manufacturing, and local manufacturing, is a form of decentralized manufacturing practiced by enterprises using a network of geographically dispersed manufacturing facilities that are coordinated using information technology. It can also refer to local manufacture via the historic cottage industry model, or manufacturing that takes place in the homes of consumers. == Enterprise == In enterprise environments, the primary attribute of distributed manufacturing is the ability to create value at geographically dispersed locations. For example, shipping costs could be minimized when products are built geographically close to their intended markets. Also, products manufactured in a number of small facilities distributed over a wide area can be customized with details adapted to individual or regional tastes. Manufacturing components in different physical locations and then managing the supply chain to bring them together for final assembly of a product is also considered a form of distributed manufacturing. Digital networks combined with additive manufacturing allow companies a decentralized and geographically independent distributed production (cloud manufacturing). == Consumer == Within the maker movement and DIY culture, small scale production by consumers often using peer-to-peer resources is being referred to as distributed manufacturing. Consumers download digital designs from an open design repository website like Youmagine or Thingiverse and produce a product for low costs through a distributed network of 3D printing services such as 3D Hubs, Geomiq. In the most distributed form of distributed manufacturing the consumer becomes a prosumer and manufacturers products at home with an open-source 3-D printer such as the RepRap. In 2013 a desktop 3-D printer could be economically justified as a personal product fabricator and the number of free and open hardware designs were growing exponentially. Today there are millions of open hardware product designs at hundreds of repositories and there is some evidence consumers are 3-D printing to save money. For example, 2017 case studies probed the quality of: (1) six common complex toys; (2) Lego blocks; and (3) the customizability of open source board games and found that all filaments analyzed saved the prosumer over 75% of the cost of commercially available true alternative toys and over 90% for recyclebot filament. Overall, these results indicate a single 3D printing repository, MyMiniFactory, is saving consumers well over $60 million/year in offset purchases of only toys. These 3-D printers can now be used to make sophisticated high-value products like scientific instruments. Similarly, a study in 2022 found that 81% of open source designs provided economic savings and the total savings for the 3D printing community is more than $35 million from downloading only the top 100 products at YouMagine. In general, the savings are largest when compared to conventional products when prosumers use recycled materials in 'distributed recycling and additive manufacturing' (DRAM). == Emergency Distributed Manufacturing During COVID-19 Pandemic == Distributed manufacturing became far more visible during the COVID-19 pandemic because it offered a practical response to the breakdown of centralized global supply chains. As lock downs, border restrictions, and factory shutdowns disrupted conventional production, decentralized networks using local facilities such as Open Source Medical Supplies stepped in and manufactured over 48 million products. Additive manufacturing /3D printing were used to produce urgently needed items such as face shields, ventilators and their components, nasopharyngeal swabs, and other personal protective equipment. This demonstrated that distributed manufacturing could reduce lead times, improve responsiveness, and lessen dependence on distant suppliers during crisis conditions for a wide range of products. Peer-reviewed studies on pandemic-era manufacturing note that additive manufacturing was especially valuable because digital design files could be shared rapidly and produced close to the point of need, enabling hospitals, universities, small firms, and maker communities to supplement strained medical supply chains. The pandemic also helped shift distributed manufacturing from being seen as a niche or experimental model to a credible strategy for resilience, flexibility, and emergency response. At the same time, scholars caution that its wider adoption depends on solving issues related to quality assurance, regulation, material consistency, and coordination across distributed production sites. Overall, COVID-19 popularized distributed manufacturing by showing that localized, digitally enabled production could complement traditional manufacturing systems when speed, adaptability, and supply-chain resilience were critical. == Social change == Some call attention to the conjunction of commons-based peer production with distributed manufacturing techniques. The self-reinforced fantasy of a system of eternal growth can be overcome with the development of economies of scope, and here, the civil society can play an important role contributing to the raising of the whole productive structure to a higher plateau of more sustainable and customised productivity. Further, it is true that many issues, problems and threats rise due to the large democratization of the means of production, and especially regarding the physical ones. For instance, the recyclability of advanced nanomaterials is still questioned; weapons manufacturing could become easier; not to mention the implications on counterfeiting and on "intellectual property". It might be maintained that in contrast to the industrial paradigm whose competitive dynamics were about economies of scale, commons-based peer production and distributed manufacturing could develop economies of scope. While the advantages of scale rest on cheap global transportation, the economies of scope share infrastructure costs (intangible and tangible productive resources), taking advantage of the capabilities of the fabrication tools. And following Neil Gershenfeld in that "some of the least developed parts of the world need some of the most advanced technologies", commons-based peer production and distributed manufacturing may offer the necessary tools for thinking globally but act locally in response to certain problems and needs. As well as supporting individual personal manufacturing social and economic benefits are expected to result from the development of local production economies. In particular, the humanitarian and development sector are becoming increasingly interested in how distributed manufacturing can overcome the supply chain challenges of last mile distribution. Further, distributed manufacturing has been proposed as a key element in the Cosmopolitan localism or cosmolocalism framework to reconfigure production by prioritizing socio-ecological well-being over corporate profits, over-production and excess consumption. == Technology == By localizing manufacturing, distributed manufacturing may enable a balance between two opposite extreme qualities in technology development: Low technology and High tech. This balance is understood as an inclusive middle, a "mid-tech", that may go beyond the two polarities, incorporating them into a higher synthesis. Thus, in such an approach, low-tech and high-tech stop being mutually exclusive. They instead become a dialectic totality. Mid-tech may be abbreviated to "both…and…" instead of "neither…nor…". Mid-tech combines the efficiency and versatility of digital/automated technology with low-tech's potential for autonomy and resilience. == Contracting in Distributed Manufacturing == Research into contracting and order processing models tailored for distributed manufacturing has highlighted the need for flexible, role-based frameworks and advanced digital tools. These tools and frameworks are essential for addressing issues related to quality assurance, payment structures, legal compliance, and coordination among multiple actors. By addressing these challenges, contracting models for distributed manufacturing can unlock its potential for more localized, efficient, and sustainable production systems. A system prototype has been developed to simplify contracting for distributed manufacturing. This tool allows buyers to manage orders across multiple manufacturers using a single interface, automating workflows to ensure clarity and accountability for everyone involved. This research was led by the Internet of Production, as part of the mAkE project (African European Maker Innovation Ecosystem), funded by the European Horizon 2020 research and innovation programme.
Social media use in the fashion industry
Social media in the fashion industry refers to the use of social media platforms by fashion designers and users to promote and participate in trends. Over the past several decades, the development of social media has increased along with its usage by consumers. The COVID-19 pandemic was a sharp turn of reliance on the virtual sphere for the industry and consumers alike. Social media has created new channels of advertising for fashion houses to reach their target markets. Since its surge in 2009, luxury fashion brands have used social media to build interactions between the brand and its customers to increase awareness and engagement. The emergence of influencers on social media has created a new way of advertising and maintaining customer relationships in the fashion industry. Numerous social media platforms are used to promote fashion trends, with Instagram and TikTok being the most popular among Generation Y and Z. The overall impact of social media in the fashion industry included the creation of online communities, direct communication between industry leaders and consumers, and criticized ideals that are promoted by the industry through social media. == Background == In 2003, at the beginning of social media development, MySpace was founded as a “social networking service.” It allowed people to create a profile, connect with other people, and post videos, pictures, and songs. As MySpace grew in popularity, it attracted interest from companies wishing to promote their brands on the social platform. MySpace is most well known for exposing musicians and artists who made it big in the industry, and companies wanted to capitalize on their popularity by making brand deals. One of MySpace's deals was with Chevrolet, putting on a ‘secret show’. They had a ‘secret’ list of 10 top artists on MySpace, and many artists posted about the show on their accounts. Another brand deal was with Gucci promoting their “Gucci Synch Watch”, which was very successful as Gucci tapped into the youthful audience on MySpace and advertised a sleek, simple, trendy unisex watch. In 2005, YouTube was released and remains one of the most popular social media platforms today. YouTube allows users to upload videos and is free to anyone with access to the internet. It grew in popularity offering a range of videos: vlogs, cooking, health and diet videos, step-by-step tutorials, tutoring help, and more. Much like MySpace, users create accounts and can build a following, often referring to themselves as ‘YouTubers.’ When YouTube grew in popularity, it piqued the interest of brands wanting to partner with YouTube and individual YouTubers. Some brand deals were made by having ads at the beginning of each video, and the YouTuber would make a profit from each view they receive. Some deals are made by individual YouTubers thanking the brand in videos and promoting the brand's products. More recently, YouTube has delved into fashion. While there were always YouTube channels for Vogue and other fashion companies, popular YouTubers have been invited to different fashion shows and have filmed experiences there. Brands are able to target individual YouTubers based on their followers and the target audiences. In 2010, Instagram was launched, which enlarged the scope of fashion advertising. Instagram allows people to post pictures and short videos with the ability to tag different accounts. For brand deals, companies can simply be tagged in a picture instead of creating ads or lines for a user to say. In each picture, users can tag the brands of clothing they were wearing, making it very easy to promote brands. Additionally, Instagram could display ads on users' feed based on other posts the users liked, which used by fashion companies to target their potential customers. Users also use Instagram to promote fashion when they get invited to fashion events. For example, they can take a picture at the event and post it to their Instagram and put their location at the venue and tag the company. During the beginning of the COVID-19 pandemic, companies relied more on social media to keep their public virtually engaged. Fashion companies had virtual fashion shows, creating videos and content about their designs. As social media expands and new platforms come into existence, new ways of advertising are projected to be created. == Uses == === Advertising === Social media is a popular use of advertisement in the fashion industry. Information sharing has expanded due to the growth of social media platforms, which impacts social consumer involvement with fashion brands. Fashion companies use social media platforms to reach customers on emotional levels and stoke engagement with brand images and messages. Researchers in the United Kingdom have demonstrated that engaging with customers with social media messages that express social passion, social tendency, and personal warmth can boost social engagement with fashion brands. In social spheres, fashion is a method for individuals to represent their distinction through clothing. Some people who desire to socially influence others through their fashion and style now have the possibility thanks to social media in the fashion sector. Customers who want to purchase fashion brands frequently follow fashion authorities on social media and heed their recommendations for purchasing fashion products. === Influencers === Companies leveraged celebrities' fame and social standing to advertise their brands, as Tommy Hilfiger did when incorporating social media into their marketing strategy, making Gigi Hadid, who has 15.5 million Instagram followers as of 2016, a brand ambassador. Though recent developments in social media platforms have led to an increase in the awareness of influencers. Influencer marketing has emerged as a fast expanding marketing strategy in various industries as a result of the unheard-of increase in the number of social media influencers' followers. Recently, influencer marketing has received significant attention in the fashion industry. Research shows that influencer marketing may provide a rate of influence that is 11x times greater than that of other conventional advertising channels. Fashion consumers, specifically those in generations Y and Z, may be more influenced by influencers in the context of the fashion industries as they often view them as friends and personal assistants. Fashion influencer marketing on social media platforms have led fashion consumption on social sopping services. One of these social fashion services is LTK (LIKEtoKNOW.it before 2021) where everyday consumers can find and purchase clothing worn by social media fashion influencers (also known as SMFIs). Launched in 2014, LTK has gained a massive following on Instagram (over 3 million) and has 1.3 million registered users on their mobile application. Utilizing SMFIs has led to massive sales within the fashion industry, 80% of visitors of Nordstrom's mobile platform are referred by influencers. Social media fashion influencers try new fashion products, adopt fashion trends and have power in what their audience purchases. Social media fashion influencers gain a following though promoting fashion products, and posting about their lavish lifestyles attained through their higher socioeconomic status. The attractive lifestyles of the influencers influence their followers to mimic their luxurious lifestyle and are allowed to consume the same products through social shopping services. In addition to brands themselves having direct access to social media users, many content creators have great influence over consumers. "Influencers" across all social media platforms have great power when it comes to where people shop and what they purchase. Influencer marketing has become one of the most effective marketing strategies for many fashion brands. These brand deals and creator partnerships are targeted towards Millennial and Gen Z consumers, specifically on Instagram and TikTok, and 74% of consumers have made a purchase simply because an influencer they follow had recommended it. === Trends === The connection between social media and fashion has become common. Influencer marketing has emerged as a necessity and crucial component of advertising. 85% of American businesses are presently using influencer marketing as part of their marketing plan. Wearing fashion brands is a method to show oneself at social gatherings. Through their clothing, people try to demonstrate how distinct they are. Some people who really desire to socially influence others through their fashion and style now have the possibility thanks to social media in the fashion sector. Customers who want to purchase fashion brands frequently follow fashion authorities on social media and heed their recommendations for purchasing fashion products. In January 2021, the Italian fashion house Bottega Veneta deleted all its social media accounts "to lean much more on its ambassadors and fans" to spread the com