Search results for: fashion and garment design

Authors: Runa Laila

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In Bangladesh, migration and employment opportunities in the ready-made garment factories presented an alternative to early and arranged-marriage to many young women from the countryside. Although the positive impact of young women’s labour migration and employment in the garment industry on economic independence, increased negotiation power, and enhancement of self-esteem have been well documented, impact of employment on sexual norms and practices remained under-researched. This ethnographic study comprising of an in-depth interview of 21 single young women working in various garment factories in Gazipur, Dhaka, explores the implication of work on sexual norms and practices. This study found young single garment workers experience a range of consensual and coercive sexual relations. The mixed-sex work environment in the garment manufacturing industry and private housing arrangements provide young single women opportunities to develop romantic and sexual relationships in the transient urban space, which was more restricted in the rural areas. The use of mobile phones further aids lovers to meet in amusement parks, friends’ houses, or residential hotels beyond the gaze of colleagues and neighbors. Due to sexual double standard, men’s sexual advantage is seen as natural and accepted, while women are being blamed as immoral for being engaged in pre-marital sex. Although self-choice marriage and premarital relations reported to be common among garment workers, stigma related to premarital sex lead young single women to resort to secret abortion practices. Married men also use power position to lure women in a subordinate position in coerce sexual relations, putting their reproductive and psychological health at risk. To improve sexual and reproductive health and wellbeing of young female garment workers, it is important to understand these changing sexual practices which otherwise remain taboo in public health discourses.

Keywords: female migration, ready-made garment, reproductive health, sexual practice

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Authors: Priya Sharma

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As one think of fashion, the only things that come to mind are feminine activities such as acquiring high-end bags, clothing, and shoes. A person's personal style is defined by their clothing. Fashion been more feminine over the centuries, but the masculine identity has also dwindled. Fashion has an impact on social status, trends, and the socio-economic and political environment. The major focus of this study is on how the most prominent fast fashion businesses establish their gender identities in order to achieve industry legitimacy. A questionnaire survey was conducted to understand the people prospection. It also helps in understanding the different driving factors which contribute collectively from the Doman from social and economic norms across the different reign in India. A conceptual module was made which help to understand the future scope of fashion with respect to gender identity in India. The ways there feel to create their own personal style and their feelings and how fashion can make more confident and authentic in their minds.

Keywords: fashion, gender, identity, feminism, environment

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Authors: Utkarsh Goley

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Leather has been a valued material for clothing and accessories for centuries, and its use has evolved along with fashion trends and technological advancements. From ancient times when leather was used for practical purposes, to the modern fashion industry, where it is used for both functional and decorative purposes, leather has undergone significant changes in its production and usage. In recent years, there has been a growing awareness of ethical and sustainable fashion, leading to a shift towards alternative materials and production methods. The leather industry has responded to this by exploring new techniques and materials, such as vegetable-tanned leather and leather substitutes made from plant-based materials. The evolution of leather in the fashion industry is also closely tied to cultural and social trends. The use of leather has been associated with rebellion and counterculture in the past, and today it is often used to evoke a sense of luxury and sophistication. Despite the challenges and controversies surrounding its production, leather continues to be a popular material in the fashion industry, with designers and consumers alike valuing its durability, versatility, and aesthetic appeal. As fashion continues to evolve, so will the role and use of leather in the industry. This research paper provides a detailed overview of the evolution of leather in the fashion industry throughout the different decades and centuries.

Keywords: evolution, fashion, leather, sustainable

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Authors: Lingju Wu, Hao Hua

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This paper presents a digital fashion production methodology and workflow based on fused deposition modeling additive manufacturing technology, as demonstrated through a 3D printed fashion show held at Southeast University in Nanjing, China. Unlike traditional fashion, 3D printed fashion allows for the creation of complex geometric shapes and unique structural designs, facilitating diverse reconfiguration and sustainable production of textile fabrics. The proposed methodology includes two components: morphogenesis and the 3D printing process. The morphogenesis part comprises digital design methods such as mesh deformation, structural reorganization, particle flow stretching, sheet partitioning, and spreading methods. The 3D printing process section includes three types of methods: sculptural objects, multi-material composite fabric, and self-forming composite fabrics. This paper focuses on multi-material composite fabrics and self-forming composite fabrics, both of which involve weaving fabrics with 3D-printed material sandwiches. Multi-material composite fabrics create specially tailored fabric from the original properties of the printing path and multiple materials, while self-forming fabrics apply pre-stress to the flat fabric and then print the sandwich, allowing the fabric's own elasticity to interact with the printed components and shape into a 3D state. The digital design method and workflow enable the integration of abstract sensual aesthetics and rational thinking, showcasing a digital aesthetic that challenges conventional handicraft workshops. Overall, this paper provides a comprehensive framework for the production of 3D-printed fashion, from concept to final product.

Keywords: digital fashion, composite fabric, self-forming structure, additive manufacturing, generating design

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Authors: Manotar Tampubolon

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Although the Indonesian human rights protection has increased in recent years, but human rights violations still occur in the industrial sector. Crimes against human rights continue to occur and go unnoticed in spite of the government's legislation on human rights, employment law in addition to an international treaty that has been ratified by Indonesia. The increasing number of garment companies in Bekasi, also give rise to increased human rights violations since the government does not have a commitment to protect it. The Indonesian government and industry owners should pay attention to and protect the human rights of workers and treat them accordingly. This paper will review the human rights violations experienced by workers at garment factories in the context of the law, as well as ideas to improve the protection of workers' rights.

Keywords: human rights protection, human rights violations, workers’ rights, justice, security

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Authors: Zi Y. Kang, Tracy D. Cassidy, Tom Cassidy

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3D apparel CAD is one of the remarkable products in advanced technology which enables intuitive design, visualisation and evaluation of garments through stereoscopic drape simulation. The progressive improvements of 3D apparel CAD have led to the creation of more realistic clothing simulation which is used not only in design development but also in presentation, promotion and communication for fashion as well as other industries such as film, game and social network services. As a result, 3D clothing technology is becoming more ubiquitous in human culture and lives today. This study considers that such phenomenon implies that the technology has reached maturity and it is time to inspect the status of current technology and to explore its potential uses in ways to create cultural values to further move forward. For this reason, this study aims to generate virtual costumes as culturally significant objects using 3D apparel CAD and to assess its capability, applicability and attitudes of the audience towards clothing simulation through comparison with physical counterparts. Since the access to costume collection is often limited due to the conservative issues, the technology may make valuable contribution by democratization of culture and knowledge for museums and its audience. This study is expected to provide foundation knowledge for development of clothing technology and for expanding its boundary of practical uses. To prevent any potential damage, two replicas of the costumes in the 1860s and 1920s at the Museum of London were chosen as samples. Their structural, visual and physical characteristics were measured and collected using patterns, scanned images of fabrics and objective fabric measurements with scale, KES-F (Kawabata Evaluation System of Fabrics) and Titan. Commercial software, DC Suite 5.0 was utilised to create virtual costumes applying collected data and the following outcomes were produced for the evaluation: Images of virtual costumes and video clips showing static and dynamic simulation. Focus groups were arranged with fashion design students and the public for evaluation which exposed the outcomes together with physical samples, fabrics swatches and photographs. The similarities, application and acceptance of virtual costumes were estimated through discussion and a questionnaire. The findings show that the technology has the capability to produce realistic or plausible simulation but expression of some factors such as details and capability of light material requires improvements. While the use of virtual costumes was viewed as more interesting and futuristic replacements to physical objects by the public group, the fashion student group noted more differences in detail and preferred physical garments highlighting the absence of tangibility. However, the advantages and potential of virtual costumes as effective and useful visual references for educational and exhibitory purposes were underlined by both groups. Although 3D apparel CAD has sufficient capacity to assist garment design process, it has limits in identical replication and more study on accurate reproduction of details and drape is needed for its technical improvements. Nevertheless, the virtual costumes in this study demonstrated the possibility of the technology to contribute to cultural and knowledgeable value creation through its applicability and as an interesting way to offer 3D visual information.

Keywords: digital clothing technology, garment simulation, 3D Apparel CAD, virtual costume

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Authors: Akshata Patel, Reenu Singh

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This paper focuses on current and upcoming fashion trends and global impact on the fashion industry due to the COVID-19 pandemic. The pandemic has had a major impact on the fashion industry worldwide. At the same time, the fashion market also faces challenges in consumer demand. As the supply chain and distribution channels are interconnected, this outbreak has a global impact due to travel restrictions and raw materials shortages. Given that this particular period represents an unprecedented market situation with almost no prior research on how the industry will recover from such a crisis and mold back to its original form, this research aims to propose new possibilities by evaluating the framework of specific segments. Based on the analysis and extensive literature review, the study develops a conceptual model that will illustrate the various connections among the different segments of the fashion industry. The findings provide actionable considerations for fashion industry pupils when implementing appropriate strategies to prevent unfavourable outcomes during times of crisis, such as the COVID-19 outbreak.

Keywords: COVID-19, fashion industry, global impact, new possibilities, pandemic

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Authors: Ana María Velasco Molpeceres

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With this work, we try to offer a complete digest of female fashion magazines edited in Spain from the XVIII century to today. During the XIX century Spain developed an important journalistic industry and the feminine press was very popular. In addition, a lot of women wrote and directed fashion magazines which tried to improve women’s status and education. In the XX century, fashion magazines reflected the ideological conflicts and the history of Spain. Before the Civil War (1936-1939), women get many rights and the modernization was clear. In the Franco’s dictatorship, fashion magazines portrayed ideals of a conservative femininity. But, in the sixties, the media helped to connect Spain with the rest of the world, being at the same time under the censorship of the regime. After the dictatorship, fashion was a very important part of the Transition’s culture and the ‘Movida’ (reflected in Almodovar’s films) contributed and expressed the new ideals of citizenship for men and women. Fashion magazines showed the changes of the society. In the XXI century, today, these magazines are a part of a global culture and Vogue or Elle live with Spanish magazines as Telva or Hola. The objective of this research is to study the history, meaning and evolution of the fashion magazines in Spain. And, of course, the ideal of women reflected on them.

Keywords: fashion, Spain, magazines, women

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Authors: John Mark King

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Beginning on Feb. 7, 2019, the luxury brand, Gucci, was met with a firestorm on social media over fashion runway images of its black balaclava sweater, which covered the bottom half of the face and featured large, shiny bright red lips surrounding the mouth cutout. Many observers on social media and in the news media noted the garment resembled racist “blackface.” This study aimed to measure how items were framed across multiple media platforms. The unit of analysis was any headline or lead paragraph published using the search terms “Gucci” and “sweater” or “jumper” or “balaclava” during the one-year timeframe of Feb. 7, 2019, to Feb. 6, 2020. Limitations included headlines and lead paragraphs published in English and indexed in the Lexis/Nexis database. Independent variables were the nation in which the item was published and the platform (newspapers, blogs, web-based publications, newswires, magazines, or broadcast news). Dependent variables were tone toward Gucci (negative, neutral or positive) and frame (blackface/racism/racist, boycott/celebrity boycott, sweater/balaclava/jumper/fashion, apology/pulling the product/diversity initiatives by Gucci or frames unrelated to the controversy but still involving Gucci sweaters) and word count. Two coders achieved 100% agreement on all variables except tone (94.2%) and frame (96.3%). The search yielded 276 items published from 155 sources in 18 nations. The tone toward Gucci during this period was negative (69.9%). Items that were neutral (16.3%) or positive (13.8%) toward the brand were overwhelmingly related to items about other Gucci sweaters worn by celebrities or fashion reviews of other Gucci sweaters. The most frequent frame was apology/pulling the product/diversity initiatives by Gucci (35.5%). The tone was most frequently negative across all continents, including the Middle East (83.3% negative), Asia (81.8%), North America (76.6%), Australia/New Zealand (66.7%), and Europe (59.8%). Newspapers/magazines/newswires/broadcast news transcripts (72.4%) were more negative than blogs/web-based publications (63.6%). The most frequent frames used by newspapers/magazines/newswires/broadcast news transcripts were apology/pulling the product/diversity initiatives by Gucci (38.7%) and blackface/racism/racist (26.1%). Blogs/web-based publications most frequently used frames unrelated to the controversial garment, but about other Gucci sweaters (42.9%) and apology/pulling the product/diversity initiatives by Gucci (27.3%). Sources in Western nations (34.7%) and Eastern nations (47.1%) most frequently used the frame of apology/pulling the product/diversity initiatives by Gucci. Mean word count was higher for negative items (583.58) than positive items (404.76). Items framed as blackface/racism/racist or boycott/celebrity boycott had higher mean word count (668.97) than items framed as sweater/balaclava/jumper/fashion or apology/pulling the product/diversity initiatives by Gucci (498.22). The author concluded that during the year-long period, Gucci’s image was likely damaged by the release of the garment at the center of the controversy due to near-universally negative items published, but Gucci’s apology/pulling the product off the market/diversity initiatives by Gucci and items about other Gucci sweaters worn by celebrities or fashion reviews of other Gucci sweaters were the most common frames across multiple media platforms, which may have mitigated the damage to the brand.

Keywords: Blackface, branding, Gucci, media framing

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Authors: Kanogkan Leerojanaprapa

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Textile and garment industry is used to a major exporting industry of Thailand. According to lacking of the nation's price-competitiveness by stopping the EU's GSP (Generalised Scheme of Preferences) and ‘Nationwide Minimum Wage Policy’ that Thailand’s employers must pay all employees at least 300 baht (about $10) a day, the supply chains of the Thai textile and garment industry is affected and need to be reformed. Therefore, either Thai textile or garment industry will be existed or not would be concerned. This is also challenged for the government to decide which industries should be promoted the future industries of Thailand. Recently Thai government launch The Cluster-based Special Economic Development Zones Policy for promoting business cluster (effect on September 16, 2015). They define a cluster as the concentration of interconnected businesses and related institutions that operate within the same geographic areas and textiles and garment is one of target industrial clusters and 9 provinces are targeted (Bangkok, Kanchanaburi, Nakhon Pathom, Ratchaburi, Samut Sakhon, Chonburi, Chachoengsao, Prachinburi, and Sa Kaeo). The cluster zone are defined to link west-east corridor connected to manufacturing source in Cambodia and Mynmar to Bangkok where are promoted to be design, sourcing, and trading hub. The Thai government will provide tax and non-tax incentives for targeted industries within the clusters and expects these businesses are scattered to where they can get the most benefit which will identify future industrial cluster. This research will show the difference between the current cluster and future cluster following the target provinces of the textile and garment. The current cluster is analysed from secondary data. The four characteristics of the numbers of plants in Spinning, weaving and finishing of textiles, Manufacture of made-up textile articles, except apparel, Manufacture of knitted and crocheted fabrics, and Manufacture of other textiles, not elsewhere classified in particular 77 provinces (in total) are clustered by K-means cluster analysis and Hierarchical Cluster Analysis. In addition, the cluster can be confirmed and showed which variables contribute the most to defined cluster solution with ANOVA test. The results of analysis can identify 22 provinces (which the textile or garment plants are located) into 3 clusters. Plants in cluster 1 tend to be large numbers of plants which is only Bangkok, Next plants in cluster 2 tend to be moderate numbers of plants which are Samut Prakan, Samut Sakhon and Nakhon Pathom. Finally plants in cluster 3 tend to be little numbers of plants which are other 18 provinces. The same methodology can be implemented in other industries for future study.

Keywords: ANOVA, hierarchical cluster analysis, industrial clusters, K -means cluster analysis, textile and garment industry

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Authors: Dana Lee, Young Chan Kim

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The purpose of this paper is to examine the relationship between the fashion corporate social responsibility (CSR) ad framing and consumer purchase behaviours with the focus on consumer’s concern and involvement towards fashion brands. A self-completion questionnaire was administered to 200 respondents. Factor analysis and other statistical analyses were applied to test hypotheses. The results suggested that the quality of the product was the most important factor when consumers purchase fashion brand products with high level of responsibility towards unethical practices but surprisingly favourability for fast fashion. Unexpectedly, it was shown that consumers took the plenty of blame, but not much responsibility on buying fast fashion evading their responsibility to CSR ad, and their purchase intentions remained unchanged. The result, on the other hand, showed that fashion CSR ads can significantly moderate individuals’ emotions even though this had no significant correlation with the purchase intentions. Despite the limited sample size and geographical region, this research has important implications for contemporary fashion brands that use ad framing to understand how consumers’ involvement and concernedness toward the CSR actions in ad, influence their favourability (purchase intention) for fashion brands.

Keywords: framing effect, CSR advertisements, consumer behaviour, purchase intention

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Authors: Vivian Orsi

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The present research investigates the lexicon of a fashion magazine, whose universe is very receptive to lexical loans, especially those from English, called Anglicisms. Specifically, we intend to discuss the presence of English items and expressions in the Vogue Italia fashion magazine. Besides, we aim to study the anglicisms used in an Italian fashion blog called The Blonde Salad. Within the discussion of fashion blogs and their contributions to scientific studies, we adopt the theories of Lexicology / Lexicography to define Anglicism (BIDERMAN, 2001), and the observation of its prestige in the Italian Language (ROGATO, 2008; BISETTO, 2003). According to the theoretical basis mentioned, we intend to make a brief analysis of the Anglicisms collected from posts of the first year of existence of such fashion blog, emphasizing also the keywords that have the role to encapsulate the content of the text, allowing the reader to retrieve information from the post of the blog. About the use of English in Italian magazines and blogs, we can affirm that it seems to represent sophistication, assuming the value of prerequisite to participate in the fashion centers of the world. Besides, we believe, as Barthes says (1990, p. 215), that “Fashion does not evolve, it changes: its lexicon is new each year, like that of a language which always keeps the same system but suddenly and regularly ‘changes’ the currency of its words”. Fashion is a mode of communication: it is present in man's interaction with the world, which means that such lexical universe is represented according to the particularities of each culture.

Keywords: anglicism, lexicology, magazines, blogs, fashion

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Authors: Anupreet B. Dugal, Suruchi Mittar

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The research prospect explores fashion as a tool to effectively emancipate the Sikh identity. The study presents information on how fashion has played a critical and visible role in reflecting and helping to construct identities based on religiosity. It discusses the Sikh identity, its’ origin; its continuity and the contemporary ambivalence. Fashion has mostly, if not always been used as a means of establishing identity. This research creates a gateway to discuss the impact that fashion can have on the existing socio-cultural and religious models. The study focuses on the Sikhs, a small community of India with regard to their visual appearance. The research will be based on the case study of 1469, a store infusing Sikhism as a style quotient. Subsequently, in the research framework, a sample study would be conducted with Sikh youth (18-25 years old) hailing from New Delhi, the capital city of India. 1469 formulates a striking case study for examining the relationship between fashion and religious and personal identity.

Keywords: fashion, identity, sikh identity, textiles

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Authors: Emily Fortune Super, Ameerah Khadaroo, Aurore Bardey

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Fashion models are often assumed to have a glamorous job with limited consideration for their well-being. This study aims to assess the well-being of models through semi-structured interviews with six professional fashion models and six industry professionals. Thematic analysis revealed that although models experienced improved self-confidence, they also reported heightened anxiety levels, body image issues, and the negative influence of modelling on their self-esteem. By contrast, industry professionals reported no or minimum concerns about anxious behaviours or the general well-being of fashion models. Being resilient as a model was perceived as an essential attribute to have by both models and industry professionals as they face recurrent rejection in this industry. These results demonstrate a significant gap in the current understanding of the well-being of fashion models between industry professionals and the models themselves. Findings imply that there is an inherent need for change in the modelling industry to promote and enhance their well-being.

Keywords: body image, fashion industry, modelling, well-being

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Authors: Sneha Bhatnagar, Sachin Bhatnagar

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Denim presently is the most widely accepted textile product and shows its hold even in future with its growing popularity. Denim today is no longer restricted to only a pair of jeans but has diversified in all different product categories. Although denim is considered as an expression of youth and demonstrates durability and comfort, denim raises issues of sustainability. Through an exploratory research, the researcher aims at addressing the possibilities of denim fashion promoting environmental sustainability by means of creativity, awareness, recycle and artisan appreciation. It also touches on how eco conscious fashion brands involve in development in terms of ideation and modification of denim as a fabric or product into diversified sustainable fashion. In conclusion, it is shown that blue denim fashion continues to evolve and shows eventual transformation in becoming green denim in future, nurturing values of both quality and sustainability.

Keywords: arts, craft, creativity, denim, fashion, recycle, sustainability

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Authors: Shih-Wen Hsiao, Rong-Qi Chen

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In the field of fashion design, 3D Mannequin is a kind of assisting tool which could rapidly realize the design concepts. While the concept of 3D Mannequin is applied to the computer added fashion design, it will connect with the development and the application of design platform and system. Thus, the situation mentioned above revealed a truth that it is very critical to develop a module of 3D Mannequin which would correspond with the necessity of fashion design. This research proposes a concrete plan that developing and constructing a system of 3D Mannequin with Kinect. In the content, ergonomic measurements of objective human features could be attained real-time through the implement with depth camera of Kinect, and then the mesh morphing can be implemented through transformed the locations of the control-points on the model by inputting those ergonomic data to get an exclusive 3D mannequin model. In the proposed methodology, after the scanned points from the Kinect are revised for accuracy and smoothening, a complete human feature would be reconstructed by the ICP algorithm with the method of image processing. Also, the objective human feature could be recognized to analyze and get real measurements. Furthermore, the data of ergonomic measurements could be applied to shape morphing for the division of 3D Mannequin reconstructed by feature curves. Due to a standardized and customer-oriented 3D Mannequin would be generated by the implement of subdivision, the research could be applied to the fashion design or the presentation and display of 3D virtual clothes. In order to examine the practicality of research structure, a system of 3D Mannequin would be constructed with JAVA program in this study. Through the revision of experiments the practicability-contained research result would come out.

Keywords: 3D mannequin, kinect scanner, interactive closest point, shape morphing, subdivision

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Authors: Kateryna Pilyarchuk

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A dress has, since times immemorial, been used to communicate the wearer’s identity. When a new trend is born, fashionistas buy it not only with the purpose to beautify themselves, but also to acquire the collective identity. Fashion has become a means of narrating one’s stance and status. Thus, when one spends money on a brand, one pays for some unmaterial components associated with it. This paper will present some ways in which fashion magazines promote consumerism by drawing on women’s craving for collective identity and need to fill in their identity gap by means of a purchase. By applying the method of critical discursive psychology, it will present layers of ideology and positions that become visible in framing of the message in U.S. Harper’s Bazaar. In this context, fashion decisions that are presented to its readers will be critically evaluated from the gender perspective. It will be demonstrated that what is presented as a postfeminist choice in the neoliberal society is still, to a considerable extent, oppressive and driven by the male gaze. As the findings show, the contemporary female identities in fashion are still built on the principles of traditional femininity. Magazines and fashion discourse train women that they should fear being left out of fashion and, by extension, out of the category of the sexually appealing (from the male perspective).

Keywords: collective identity, critical discursive psychology, fashion discourse, identity gap

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Authors: Vittorio Linfante

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Utopìa is a term that, since its first appearance in 1516, in Tommaso Moro’s work, has taken on different meanings and forms in various fields: social studies, politics, art, creativity, and design. The utopias, although of short duration and in their apparent impossibility, have been able to give a shape to the future, laying the foundations for our present and the future of the next generations. The Twentieth century was the historical period crossed by many changes, and it saw the most significant number of utopias not only social, political, and scientific but also artistic, architectural, in design, communication, and, last but not least, in fashion. Over the years, fashion has been able to interpret various utopistic impulses giving form to the most futuristic visions. From the Manifesto del Vestito by Giacomo Balla, through the functional experiments that led to the Tuta by Thayath and the Varst by Aleksandr Rodčenko and Varvara Stepanova, through the Space Age visions of Rudi Gernreich, Paco Rabanne and Pierre Cardin, and the Archizoom’s political actions and their fashion project Vestirsi è facile. Experiments that have continued to the present days through the (sometimes) excessive visions of Hussein Chalayan, Alexander McQueen, and Gareth Pugh or those that are more anchored to the market (but no fewer innovative and visionaries) by Prada, Chanel, and Raf Simmons. If, as Bauman states, it is true that we have entered in a phase of Retrotopia characterized by the inability to think about new forms of the future; it is necessary, more than ever, to redefine the role of history, of its narration and its mise en scène, within the contemporary creative process. A process that increasingly requires an in-depth knowledge of the past for the definition of a renewed discourse about design processes. A discourse in which words like archive, exhibition, curating, revival, vintage, and costume take on new meanings. The paper aims to investigate–through case studies, research, and professional projects–the renewed role of curating and preserving fashion artefacts. A renewed role that–in an era of Retrotopia–museums, exhibitions, and archives can (and must) assume, to contribute to the definition of new design paradigms, capable of overcoming the traditional categories of revival or costume in favour of a more contemporary “mash-up” approach. Mash-up in which past and present, craftsmanship and new technologies, revival and experimentation merge seamlessly. In this perspective, dresses (as well as fashion accessories) should be considered not only as finished products but as artefacts capable of talking about the past and of producing unpublished new stories at the same time. Archives, exhibitions (academic and not), and museums thus become powerful sources of inspiration for fashion: places and projects capable of generating innovation, becoming active protagonists of the contemporary fashion design processes.

Keywords: heritage, history, costume and fashion interface, performance, language, design research

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Authors: Nihan Akdemir

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This research aims to investigate the role of fashion in the context of the deconstruction of gender stereotypes. Expectation of society and culture related to the biological structure of the individual corresponds to the gender. At this point there are some unseen rules which are given to person even from his/her childhoods according to the sex and gender, are called stereotypes. With basic example, girls should wear pink, and the boys should wear blue. Or boys do not wear skirt and the woman must behave like a woman. There are also many many stereotypes like them. But the clothing style the individual uses to express his or her gender identity may not match the expectations of the community and society. In the context of big role of the clothing, these stereotypes could be deconstructed because clothes are the visible expression of gender identity of the person. And fashion is a big part of this structure because fashion is a pioneer of what people wear in other words fashion tells to people what should they wear this season. Nowadays fashion has also meant about expressing identity independent of whether you were born male or female. Many fashion brands prepare their collections in the concept of ‘gender fluid’ by deconstructions. It means that fashion is opening the roads for being more free about the gender identity. The representations of gender fluidity through fashion help bring a sense of normality to people who are trying to find the self-confidence to express who they want to be. Maybe the voice of the streets carries this point to the catwalks firstly, and then it becomes a trend. All these items have been explained with visual images and supported by the literature investigations. And the results are showed that the numbers of collections about it are increasing and fashion sector takes this issue into consideration. And this new approach reached to the streets.

Keywords: fashion, gender identity, gender stereotypes, trend

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Authors: Neha Dimri, Varsha Gupta

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Purpose: Fast Fashion trend promotes consumption of low cost high fashion garments at a rapid rate. Frequent change in fashion trend results in higher disposability of Fast Fashion products. To cater for the Fast Fashion appetite of the present day consumer, fashion giants have ramped up production of garments, thus imposing a massive strain on the planet’s natural resources. Also, ethical issues related to cheaper methods of production are of concern. India being a large consumer base has a major role to play in proliferation of the Fast Fashion trend. This paper is an attempt to study the effect of fast fashion trends on the Indian consumer’s behaviour. It also attempts to ascertain the awareness of the consumer about the detrimental effect that the fast fashion trends manifest on the environment. Design /methodology/approach: The survey was conducted using a questionnaire targeted at a set of urban Indian consumers of varied age, profession and socio economic backgrounds. Trends regarding frequency of purchase, expenditure on clothing, disposal methods and awareness about environmental issues were analyzed using the obtained data. Findings: The result of the study indicates that urban Indian consumer has a strong affinity towards fast fashion trends, but is largely unaware of its detrimental effect on the environment and strain on natural resources. Research Limitation/implications: The sample size for survey was only of a hundred consumers, and the same could be expanded for a better estimate of trends. Also, the sample consumers were mostly urban. A big chunk of Indian fashion consumers reside in small towns and the same could be included in the survey. Practical implications: As the true cost of Fast Fashion in terms of environmental and ethical aspects is getting realized worldwide, a big market like India cannot remain isolated from this phenomenon. Globally there has been an increase in demand of ethically produced clothing. It is imperative that the Indian consumer be made aware about the unsustainable nature of Fast Fashion so that he can contribute towards conservation of natural resources and ethical production of garments. Originality/value The research attempts to ascertain consumption pattern of the Indian fashion consumer and also his awareness about the true cost and consequences of Fast Fashion. The inferences may be used by fashion giants to use ‘Green Marketing’ and ‘Social Marketing’ techniques to make the Indian consumer more aware about sustainable fashion and to market their own products as ‘Sustainable, Green and Ethical’.

Keywords: consumption, disposable, fast fashion, Indian consumer

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Authors: Basak Ozkendirci

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The discovery of chemical dyes, the development of regenerated fibers, and warp knitting technology have enormous effects on the fashion world. The trends created by the information obtained in the context of various studies today shape the fashion world. Trend analysts must follow scientific developments as well as sociological events, political developments and artwork to obtain healthy data on trends. Digital printing technologies have changed the dynamics of textile printing production and also the style of printed designs. Fashion designers already have started design 3D printed accessories and garments. The research fields like the internet of things, artificial intelligence, hologram technologies, mechatronics, energy storage systems, nanotechnology are seen as the technologies that will change the social life and economy of the future. It is clear that research carried out in these areas will affect the textiles of the future and whereat the trends of fashion. The article aims to create a future vision for trend researchers and designers by giving clues about the changes to be experienced in the fashion world. In the first part of the article, information about the scientific studies that are thought to shape the future is given, and the forecasting about how the inventions that can be obtained from these studies can be adapted at the textile are presented. In the second part of the article, examples of how the new generation of innovative textiles will affect the daily life experience of the user are given.

Keywords: biotextiles, fashion trends, nanotextiles, new materials, smart textiles, techno textiles

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Authors: Evrim Buyukaslan, Simona Jevsnik, Fatma Kalaoglu

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Simulation of fabrics is more difficult than any other simulation due to complex mechanics of fabrics. Most of the virtual garment simulation software use mass-spring model and incorporate fabric mechanics into simulation models. The accuracy and fidelity of these virtual garment simulation software is a question mark. Drape is a subjective phenomenon and evaluation of drape has been studied since 1950’s. On the other hand, fabric and garment simulation is relatively new. Understanding drape perception of subjects when looking at fabric simulations is critical as virtual try-on becomes more of an issue by enhanced online apparel sales. Projected future of online apparel retailing is that users may view their avatars and try-on the garment on their avatars in the virtual environment. It is a well-known fact that users will not be eager to accept this innovative technology unless it is realistic enough. Therefore, it is essential to understand what users see when they are displaying fabrics in a virtual environment. Are they able to distinguish the differences between various fabrics in virtual environment? The purpose of this study is to investigate human perception when looking at a virtual fabric and determine the most visually noticeable drape parameter. To this end, five different fabrics are mechanically tested, and their drape simulations are generated by commercial garment simulation software (Optitex®). The simulation images are processed by an image analysis software to calculate drape parameters namely; drape coefficient, node severity, and peak angles. A questionnaire is developed to evaluate drape properties subjectively in a virtual environment. Drape simulation images are shown to 27 subjects and asked to rank the samples according to their questioned drape property. The answers are compared to the calculated drape parameters. The results show that subjects are quite sensitive to drape coefficient changes while they are not very sensitive to changes in node dimensions and node distributions.

Keywords: drape simulation, drape evaluation, fabric mechanics, virtual fabric

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Authors: Varutorn Tulnawat, Padcharee Phasuk

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This paper investigates the issue of China’s dumping on border trade between Thailand and Laos. From the pass mostly, the border trade goods are traditional textile and garment mainly served locals and tourists which majority of traders is of small and medium size. In the present day the competition is fierce, the volume of trade has expanded far beyond its original intent. The major competitors in Thai-Laos border trade are China, Vietnam and also South Korea. This research measures and compares the efficiency and ability to survive the onslaught of Thai and Laos firm along Thailand (Nong Kai province) and Laos (Vientiane) border. Two attack strategies are observed, price cutting and incense such as full facilitation for big volume order. Data Envelopment Analysis (DEA) is applied to data surveyed from 90 Thai and Laos entrepreneurs. The expected results are the proportion of efficiency and inefficiency firms. Points of inefficiency and suggested improvement are also discussed.

Keywords: border trade, dea, textile, garment

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Authors: Evridiki Papachristou, Nikolaos Bilalis

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Imagine an apparel industry where fashion design does not begin with a paper-and-pen drawing which is then translated into pattern and later to a 3D model where the designer tries out different fabrics, colours and contrasts. Instead, imagine a fashion designer in the future who produces that initial fashion drawing in a three-dimensional space and won’t leave that environment until the product is done, communicating his/her ideas with the entire development team in true to life 3D. Three-dimensional (3D) technology - while well established in many other industrial sectors like automotive, aerospace, architecture and industrial design, has only just started to open up a whole range of new opportunities for apparel designers. The paper will discuss the process of 3D simulation technology enhanced by high quality visualization of data and its capability to ensure a massive competitiveness in the market. Secondly, it will underline the most frequent problems & challenges that occur in the process chain when various partners in the production of textiles and apparel are working together. Finally, it will offer a perspective of how the Virtual Prototyping Technology will make the global textile and apparel industry change to a level where designs will be visualized on a computer and various scenarios modeled without even having to produce a physical prototype. This state-of-the-art 3D technology has been described as transformative and“disruptive”comparing to the process of the way apparel companies develop their fashion products today. It provides the benefit of virtual sampling not only for quick testing of design ideas, but also reducing process steps and having more visibility.A so called“digital asset” that can be used for other purposes such as merchandising or marketing.

Keywords: 3D visualization, apparel, virtual prototyping, prototyping technology

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Authors: Leili Nekounazar

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Since 2009, when the Green movement, Iran’s most significant political uprising in post-Islamic revolution materialized, the term 'soft war' has become an integral part of the Iranian regime’s lexicon when addressing the media propaganda waged by the west and the regime’s so-called 'enemies'. Iran’s authorities describe soft war as a western campaign aiming at undermining the revolutionary values by covert activities, deploying cultural tools and purposeful dissemination of information. With this respect, Internet and in particular, the social media networks, and oppositional radio-television broadcasts have been considered as the west’s soft war conduits. With the rising of the underground fashion industry in the past couple of years that does not conform to the compulsory dress codes prescribed by the state, the Islamic regime expands the soft war narrative to include any undesired fashion-related activities and frames the rising fashion industry as a cultural war intoxicating the Iranian-Islamic identity. Accordingly, fashion products created by the Iranian fashion intermediators have been attributed to the westerners and outsiders and are regarded as the matter of national security. This study examines the reactive and proactive measures deployed by the Iranian regime to control the rise of fashion industry. It further puts under the scrutiny how the state as a part of its proactive measure shapes the narrative of 'soft war' in relation to fashion in Iran and explores how the notion of soft war has been articulated in relation to the modeling and fashion in the state’s political rhetoric. Through conducting a content analysis of the authorities’ statements, it describes how the narrative of soft war assists the state policing the fashion industry.

Keywords: censorship, fashion, Iran, soft war

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Authors: Jianli Hu

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The internet has fundamentally revolutionized access to data and ushered new ways of creating and accessing information for commercializing products. Digital media such as computer programs, software, apps, websites, and social media have allowed the proliferation of information and ideas to grow exponentially. In recent years, a new wave of innovative e-commerce formats has begun to emerge in the fashion marketplace, responding to the ever-greater need for transparency and connectivity. For example, many fashion wholesalers and retailers have modified their operations using software systems that enable brands to cost, track, and analyze products and client orders, sales tools that connect buyers and brands to create a more dynamic market-place, as well as retailer-end apps designed to drive traffic back to brick-and-mortar stores. In this paper, we review the recently developed tools and applications of commercializing fashion, and present results of several field studies and interviews with fashion producers and buyers.

Keywords: fashion, digital media, commercializing products, internet

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Authors: Ranis Cheng

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Corporate identity is an asset of a company that is unique, valuable and provides a source of competitive advantage. This research taking a holistic view to explore all dimensions of corporate identity and influence of each on customers’ shopping experience in the fast fashion retail sector in the U.K. Unfortunately these issues have not been explored sufficiently in the extant literature, especially in the area of the identity gap. To date, there is still a lack of empirical research on corporate identity, especially in the retail sector despite the importance of the concept to all organisations. Furthermore, although customer group is one of the essential audiences of organisations and the importance of customers in corporate identity management cannot be ignored, to date limited studies have been conducted in order to understand how customers interpret and perceive corporate identity (perceived identity). Therefore, this research investigates customers’ perceptions of corporate identity in the fast fashion retail sector. 1) To explore customers’ perceptions of fast fashion retailers’ corporate identities; 2) To uncover the important constructs of corporate identity which contribute to the U.K. fast fashion retail sector. 40 semi-structured interviews with the fast fashion consumers have been carried out to identify their perceptions of fast fashion retailers' corporate identities. Secondary research on retailers' websites and press releases have been evaluated to identify their desired corporate identities. The findings have revealed that there are significant gaps between how fast fashion retailers present their identities and how their consumers perceive them. This has posed customers' negative perceptions towards the retailers and their shopping experience as a whole. This study has studied how the corporate identity constructs could be applied in the fashion context and has helped retailers to shed lights on how to minimise the gap between desired and perceived identity.

Keywords: corporate identity, fast fashion, fashion retailing, identity gap

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Authors: S. Tandon, A. Oussoren

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Clothing is a need for all humans. Besides serving the commonly understood function of protection, it also is a means of self-expression and adornment. However, most clothing for people with disabilities is developed to respond to their functional needs merely. Such clothing aggravates feelings of inadequacy and lowers their self-esteem. Investigations into apparel-related barriers faced by women with disabilities and their expectations and desires about clothing pointed to a huge void in terms of well-designed inclusive clothing. The incredible stories and experiences shared by the participants in this research highlighted the fact that people with disabilities wanted to feel, dress, and look at how they wanted to look by wearing what they wanted to wear. Clothing should be about self-expression – reflecting their moods, taste, and style and not limited to fulfilling merely their functional needs. Inclusive Design for Regaining Lost Identity was undertaken to design and develop accessible clothing that is inclusive and fashionable to foster psycho-social well-being and to enhance the self-esteem of women with disabilities. The research explored inclusive design solutions for the saree – a traditional Indian garment for women. The saree is an elaborate garment that requires precise draping, which makes the saree complicated to wear and inconvenient to carry, particularly for women with physical disabilities. For many women in India, the saree remains the customary dress, especially for work and occasions, yet minimal advancement has been made to enhance its accessibility and ease of use. The project followed a qualitative research approach whilst incorporating a combination of methods, which consisted of a questionnaire, an interview, and co-creation workshops. The research adhered to the principles of applied research such that the designed products aim to solve a problem that is functional and purposeful. In order to reduce the complications and to simplify the wrapping of the garment fabric around the body, different combinations of pre-stitching of the layers of the saree were created to investigate the outcomes. The technology of 3D drawing and printing was employed to develop feasible fasteners keeping in mind the participants’ movement limitations and to enhance their agency with these newly designed fasteners. The underlying principle of the project is that every individual should be able to access life the way they wish to and should not have to compromise their desires due to their disability.

Keywords: accessibility, co-creation, design ethics, inclusive

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Authors: Prabhdip Brar

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Since the ancient times recycling, reusing and upcycling has been strongly practiced in India. However, previously reprocess was common due to lack of resources and availability of free time, especially with women who were homemakers. The upward strategy of design philosophy and drift of sustainability is sustainable fashion which is also termed eco fashion, the aspiration of which is to craft a classification which can be supported ad infinitum in terms of environmentalism and social responsibility. The viable approach of sustaining fashion is part of the larger trend of justifiable design where a product is generated and produced while considering its social impact to the environment. The purpose of this qualitative research paper is to find out if the apparel design boutiques in Chandigarh, (an educated fashion-conscious city) are contributing towards making conscious efforts with the re-use of environmentally responsive materials to rethink about eco-conscious traditional techniques and socially responsible approaches of the invention. Observation method and case studies of ten renowned boutiques of Chandigarh were conducted to find out about the creativity of their waste management and social contribution. Owners were interviewed with open-ended questions to find out their understanding of sustainability. This paper concludes that there are many sustainable ideas existing within India from olden times that can be incorporated into modern manufacturing techniques. The results showed all the designers are aware of sustainability as a concept. In all practical purposes, a patch of fabric is being used for bindings or one over the other as surface ornamentation techniques. Plain Fabrics and traditional prints and fabrics are valued more by the owners for using on other garments. Few of them sort their leftover pieces according to basic colors. Few boutique owners preferred donating it to Non-Government organizations. Still, they have enough waste which is not utilized because of lack of time and labor. This paper discusses how the Indian traditional techniques still derive influences though design and techniques, making India one of the contributing countries to the sustainability of fashion and textiles.

Keywords: eco-fashion textile, sustainable textiles, sustainability in india, waste management

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Authors: Shagufta Riaz, Ayesha Younus, Munir Ashraf, Tanveer Hussain

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Aesthetic and performance are two most important considerations along with quality, durability, comfort and cost that affect the garment credibility. Fabric drape is perhaps the most important clothing characteristics that distinguishes fabric from the sheet, paper, steel or other film materials. It enables the fabric to mold itself under its own weight into desired and required shape when only part of it is directly sustained. The fabric has the ability to be crumpled charmingly in bent folds of single or double curvature due to its drapeability to produce a smooth flowing i.e. ‘the sinusoidal-type folds of a curtain or skirt’. Drape and seam strength are two parameters that are considered for aesthetic and performance of fabric for both apparel and home textiles. Until recently, no such study have been conducted in which effect of weave designs on drape and seam strength of fabric and garment is inspected. Therefore, the aim of this study was to measure seam strength and drape of fabric and garment objectively by changing weave designs and quality of the fabric. Also, the comparison of 2-D drape and 3-D drape was done to find whether a fabric behaves in same manner or differently when sewn and worn on the body. Four different cotton weave designs were developed and pr-treatment was done. 2-D Drape of the fabric was measured by drapemeter attached with digital camera and a supporting disc to hang the specimen on it. Drape coefficient value (DC %) has negative relation with drape. It is the ratio of draped sample’s projected shadow area to the area of undraped (flat) sample expressed as percentage. Similarly, 3-D drape was measured by hanging the A-line skirts for developed weave designs. BS 3356 standard test method was followed for bending length examination. It is related to the angle that the fabric makes with its horizontal axis. Seam strength was determined by following ASTM test standard. For sewn fabric, stitch density of seam was found by magnifying glass according to standard ASTM test method. In this research study, from the experimentation and evaluation it was investigated that drape and seam strength were significantly affected by change of weave design and quality of fabric (PPI & yarn count). Drapeability increased as the number of interlacement or contact point deceased between warp and weft yarns. As the weight of fabric, bending length, and density of fabric had indirect relationship with drapeability. We had concluded that 2-D drape was higher than 3-D drape even though the garment was made of the same fabric construction. Seam breakage strength decreased with decrease in picks density and yarn count.

Keywords: drape coefficient, fabric, seam strength, weave

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