Search results for: fashion photography

Authors: Adi Gielgun-Katz, Alina S. Rusu

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In the last two decades, education systems worldwide have integrated new pedagogical methods and strategies in lesson plans, such as innovative technologies, social-emotional learning (SEL), gamification, mixed learning, multiple literacies, and many others. Visual language, such as photographs, is known to transcend cultures and languages, and it is commonly used by youth to express positions and affective states in social networks. Therefore, visual language needs more educational attention as a linguistic and communicative component that can create connectedness among the students and their teachers. Nowadays, when SEL is gaining more and more space and meaning in the area of academic improvement in relation to social well-being, and taking and sharing pictures is part of the everyday life of the majority of people, it becomes natural to add the visual language to SEL approach as a reinforcement strategy for connecting education to the contemporary culture and language of the youth. This article presents a program conducted in a high school class in Israel, which combines the five SEL with photography techniques, i.e., Social-Emotional Learning Visual Empowerments (SELVEs) program (experimental group). Another class of students from the same institution represents the control group, which is participating in the SEL program without the photography component. The SEL component of the programs addresses skills such as: troubleshooting, uncertainty, personal strengths and collaboration, accepting others, control of impulses, communication, self-perception, and conflict resolution. The aim of the study is to examine the effects of programs on the level of the five SEL aspects in the two groups of high school students: Self-Awareness, Social Awareness, Self-Management, Responsible Decision Making, and Relationship Skills. The study presents a quantitative assessment of the SEL programs’ impact on the students. The main hypothesis is that the students’ questionnaires' analysis will reveal a better understanding and improvement of the five aspects of the SEL in the group of students involved in the photography-enhanced SEL program.

Keywords: social-emotional learning, photography, education program, adolescents

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Authors: Maya Agarwala

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Objectives: Audit the quality of clinical photographs taken for Orthodontic patients at Queen’s hospital, Romford. Design and setting: All Orthodontic photographs are taken in the Medical Photography Department at Queen’s Hospital. Retrospective audit with data collected between January - March 2023. Gold standard: Institute of Medical Illustrators (IMI) standard 12 photographs: 6 extraoral and 6 intraoral. 100% of patients to have the standard 12 photographs meeting a satisfactory diagnostic quality. Materials and methods: 30 patients randomly selected. All photographs analysed against the IMI gold standard. Results: A total of 360 photographs were analysed. 100% of the photographs had the 12 photographic views. Of which, 93.1% met the gold standard. Of the extraoral photos: 99.4% met the gold standard, 0.6% had incorrect head positioning. Of the intraoral photographs: 87.2% met the gold standard. The most common intraoral errors were: the presence of saliva pooling (7.2%), insufficient soft tissue retraction (3.3%), incomplete occlusal surface visibility (2.2%) and mirror fogging (1.1%). Conclusion: The gold standard was not met, however the overall standard of Orthodontic photographs is high. Further training of the Medical Photography team is needed to improve the quality of photographs. Following the training, the audit will be repeated. High-quality clinical photographs are an important part of clinical record keeping.

Keywords: orthodontics, paediatric, photography, audit

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Authors: Santos Andressa M. N.

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The research brings reflections on the importance of Instagram for the clothing trade, aiming to analyze the use of this social network as a sales tool by small companies in the fashion/clothing sector in Boqueirão-PI. Thus, field research was carried out, with the application of questionnaires, to raise and analyze data related to the topic. Thus, it is believed that Instagram positively influences the dissemination, visibility, reach and profitability of companies in Boqueirão do Piauí. The survey had a low number of companies due to the lack of availability of the owners during the COVID-19 pandemic.

Keywords: Instagram, sales, fashion, marketing

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Authors: Mai Anh Pham Ho

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Ao Dai is the traditional dress of Vietnamese women that consists of a long tunic with slits on either side and wide trousers. This is the Vietnamese national costume which most common worn by women in daily life. The Vietnamese men may wear Ao Dai on special occasions like New Year Eve or Wedding Ceremony. Ao Dai is one of the few Vietnamese words that appear in English language dictionaries. Nowadays, there are variations in modern Ao Dai that consist of a short tunic on knee and slim trousers with the other materials like kaki or jeans. This paper aims to apply Pop art pattern on modern Ao Dai through the image of Vietnamese women by modifying the creation process of fashion design. It reflects on how modern culture is involved in Ao Dai and how it affects on fashion design. The research method of this paper is done through surveying the various examples of technological applications to fashion design, then the pop art pattern with the image of Vietnamese women is applied on modern Ao Dai. The results of this paper have shown through the collection of modern Ao Dai with three artworks applied the pop art pattern. In conclusion, the role of fashion technology supports and evolves the traditional value in order to establish the Vietnamese national personality as well as distinguish to other cultural values in the world.

Keywords: pop art pattern, Vietnamese national costume, modern ao dai, fashion design

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Authors: C. W. Kan, H. F. Cheung, Y. S. Lee

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This study examines the results of colour fading of cotton fabric by plasma-induced ozone treatment, with an aim to provide learning materials for fashion designers when designing colour fading effects in fashion products. Cotton knitted fabrics were dyed with red reactive dye with a colour depth of 1.5% and were subjected to ozone generated by a commercially available plasma machine for colour fading. The plasma-induced ozone treatment was conducted with different parameters: (i) air concentration = 10%, 30%, 50% and 70%; (ii) water content in fabric = 35% and 45%, and (iii) treatment time = 10 minutes, 20 minutes and 30 minutes. Finally, the colour properties of the plasma–induced ozone treated fabric were measured by spectrophotometer under illuminant D₆₅ to obtain the CIE L*, CIE a* and CIE b* values.

Keywords: learning materials, colour fading, colour properties, fashion products

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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: Marike Venter de Villiers, Jessica Ramoshaba

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In recent years, the fashion industry has been associated with the exploitation of both people and resources. This is largely due to the emergence of the fast fashion concept, which entails rapid and continual style changes where clothes quickly lose their appeal, become out-of-fashion, and are then disposed of. This cycle often entails appalling working conditions in sweatshops with low wages, child labor, and a significant amount of textile waste that ends up in landfills. Although the awareness of the negative implications of ‘mindless fashion production and consumption’ is growing, fast fashion remains to be a popular choice among the youth. This is especially prevalent in South Africa, a poverty-stricken country where a vast number of young adults are unemployed and living in poverty. Despite being in poverty, the celebrity conscious culture and fashion products frequently portrayed on the growing intrusive social media platforms in South Africa pressurizes the consumers to purchase fashion and luxury products. Young adults are therefore more vulnerable to the temptation to purchase fast fashion products. A possible solution to the detrimental effects that the fast fashion industry has on the environment is the revival of the secondhand clothing trend. Although the popularity of secondhand clothing has gained momentum among selected consumer segments, the adoption rate of such remains slow. The main purpose of this study was to explore consumers’ perceptions of the secondhand clothing trend and to gain insight into factors that inhibit the adoption of secondhand clothing. This study also aimed to investigate whether consumers are aware of the negative implications of the fast fashion industry and their likelihood to shift their clothing purchases to that of secondhand clothing. By means of a quantitative study, fifty young females were asked to complete a semi-structured questionnaire. The researcher approached females between the ages of 18 and 35 in a face-to-face setting. The results indicated that although they had an awareness of the negative consequences of fast fashion, they lacked detailed insight into the pertinent effects of fast fashion on the environment. Further, a number of factors inhibit their decision to buy from secondhand stores: firstly, the accessibility to the latest trends was not always available in secondhand stores; secondly, the convenience of shopping from a chain store outweighs the inconvenience of searching for and finding a secondhand store; and lastly, they perceived secondhand clothing to pose a hygiene risk. The findings of this study provide fashion marketers, and secondhand clothing stores, with insight into how they can incorporate the secondhand clothing trend into their strategies and marketing campaigns in an attempt to make the fashion industry more sustainable.

Keywords: eco-friendly fashion, fast fashion, secondhand clothing, eco-friendly fashion

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Authors: Yi-Ting Wang, Wen-Shu Lai

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The subject of this paper is the photography in the 1983 film Paris, Texas, directed by Wim Wenders. Wenders is well known as a film director as well as a photographer. We have found that photography is shown as a photographic element in many of his films. Some of these photographs serve as details within the films, while others play important roles that are relevant to the story. This paper aims to consider photographs in film as a specific type of text, which is the output of both still photography and the film itself. In the film Paris, Texas, three sets of important photographs appear whose symbolic meanings are as dialectical as their text types. The relationship between the existence of these photos and the storyline is both dependent and isolated. The film’s images fly by and progress into other images, while the photos in the film serve a unique narrative function by stopping the continuously flowing images thus provide the viewer a space for imagination and contemplation. They are more than just artistic forms; they also contained multiple meanings. The photographs in Paris, Texas play the role of both presence and absence according to their shifting meanings. There are references to their presence: photographs exist between film time and narrative time, so in terms of the interaction between the characters in the film, photographs are a common symbol of the beginning and end of the characters’ journeys. In terms of the audience, the film’s photographs are a link in the viewing frame structure, through which the creative motivation of the film director can be explored. Photographs also point to the absence of certain objects: the scenes in the photos represent an imaginary map of emotion. The town of Paris, Texas is therefore isolated from the physical presence of the photograph, and is far more abstract than the reality in the film. This paper embraces the ambiguous nature of photography and demonstrates its presence and absence in film with regard to the meaning of text. However, it is worth reflecting that the temporary nature of the interpretation of the film’s photographs is far greater than any other type of photographic text: the characteristics of the text cause the interpretation results to change along with the variations in the interpretation process, which makes their meaning a dynamic process. The photographs’ presence or absence in the context of Paris, Texas also demonstrates the presence and absence of the creator, time, the truth, and the imagination. The film becomes more complete as a result of the revelation of the photographs, while the intertextual connection between these two forms simultaneously provides multiple possibilities for the interpretation of the photographs in the film.

Keywords: film, Paris, Texas, photography, Wim Wenders

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Authors: Lily Ye

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The contemporary fashion industry has witnessed the global rise of Chinese fashion designers. China plays more and more important role in this sector globally. One of the key debates in contemporary time is the conception of Chinese fashion. A close look at previous discussions on Chinese fashion reveals that most of them are explored through the lens of cultural knowledge and assumptions, using the dichotomous models of East and West. The results of these studies generate an essentialist and orientalist notion of Chinoiserie and Chinese fashion, which sees individual designers from China as undifferential collective members marked by a unique and fixed set of cultural scripts. This study challenges this essentialist conceptualization and brings fresh insights to the discussion of Chinese fashion identity against the backdrop of globalisation. Different from a culturalist approach to researching Chinese fashion, this paper presents an alternative position to address the research agenda through the mobilisation of Giddens’ (1991) theory of reflexive identity formation, privileging individuals’ agency and reflexivity. This approach to the discussion of identity formation not only challenges the traditional view seeing identity as the distinctive and essential characteristics belonging to any given individual or shared by all members of a particular social category or group but highlights fashion designers’ strategic agency and their role as fashion activist. This study draws evidence from a textual analysis of published stories of a group of established Chinese designers such as Guo Pei, Huishan Zhang, Masha Ma, Uma Wang, and Ma Ke. In line with Giddens’ concept of 'reflexive project of the self', this study uses a narrative methodology. Narratives are verbal accounts or stories relating to experiences of Chinese fashion designers. This approach offers the fashion designers a chance to 'speak' for themselves and show the depths and complexities of their experiences. It also emphasises the nuances of identity formation in fashion designers, whose experiences cannot be captured in neat typologies. Thematic analysis (Braun and Clarke, 2006) is adopted to identify and investigate common themes across the whole dataset. At the centre of the analysis is individuals’ self-articulation of their perceptions, experiences and themselves in relation to culture, fashion and identity. The finding indicates that identity is constructed around anchors such as agency, cultural hybridity, reflexivity and sustainability rather than traditional collective categories such as culture and ethnicity. Thus, the old East-West dichotomy is broken down, and essentialised social categories are challenged by the multiplicity and fragmentation of self and cultural hybridity created within designers’ 'small narratives'.

Keywords: Chinoiserie, fashion identity, fashion activism, narrative inquiry

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Authors: Minji Seo

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Fashion stakeholders are becoming increasingly aware of technological innovation in manufacturing. In 2020, the COVID-19 pandemic caused transformations in working patterns, such as working remotely rather thancommuting. To enable smooth remote working, 3D fashion design software is being adoptedas the latest trend in design and production. The majority of fashion designers, however, are still resistantto this change. Previous studies on 3D fashion design software solely highlighted the beneficial and detrimental factors of adopting design innovations. They lacked research on the relationship between resistance factors and the adoption of innovation. These studies also fell short of exploringthe perspectives of users of these innovations. This paper aims to investigate the key drivers and barriers of employing 3D fashion design software as wellas to explore the challenges faced by designers.It also toucheson the governmental support for digital manufacturing in Seoul, South Korea, and London, the United Kingdom. By conceptualising local support, this study aims to provide a new path for industrial clusters to optimise digital apparel manufacturing. The study uses a mixture of quantitative and qualitative approaches. Initially, it reflects a survey of 350 samples, fashion designers, on innovation resistance factors of 3D fashion design software and the effectiveness of local support. In-depth interviews with 30 participants provide a better understanding of designers’ aspects of the benefits and obstacles of employing 3D fashion design software. The key findings of this research are the main barriers to employing 3D fashion design software in fashion production. The cultural characteristics and interviews resultsare used to interpret the survey results. The findings of quantitative data examine the main resistance factors to adopting design innovations. The dominant obstacles are: the cost of software and its complexity; lack of customers’ interest in innovation; lack of qualified personnel, and lack of knowledge. The main difference between Seoul and London is the attitudes towards government support. Compared to the UK’s fashion designers, South Korean designers emphasise that government support is highly relevant to employing 3D fashion design software. The top-down and bottom-up policy implementation approach distinguishes the perception of government support. Compared to top-down policy approaches in South Korea, British fashion designers based on employing bottom-up approaches are reluctant to receive government support. The findings of this research will contribute to generating solutions for local government and the optimisation of use of 3D fashion design software in fashion industrial clusters.

Keywords: digital apparel production, industrial clusters, innovation resistance, 3D fashion design software, manufacturing, innovation, technology, digital manufacturing, innovative fashion design process

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Authors: Lucia Perez, Maria Gaton y Santa Palella

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Starting from the etymology of the word culture, the Latin term ‘colere’, whose meaning is to cultivate, we understand that the society that cultivates its knowledge is laying the foundations for new possibilities. In this sense, art and fashion contain the same attributes: concept, aesthetic principles, and refined techniques. Both play a crucial role, communication, and this implies a sense of community, relationship with tradition, and innovation. This is the mirror in which to contemplate, but also the space that helps to grow. This is the framework where our object of study opens up: the anthropological management or the mission management model applied to fashion exhibitions in museums and cultural institutions. For this purpose, a bibliographic review has been carried out with its subsequent analysis, a case study of three successful exhibitions: ‘Christian Dior: designer of dreams’, ‘Balenciaga and the Spanish painting’, and ‘China: Through the Looking Glass’. The methodology has been completed with interviews focused on the curators. Amongst the results obtained, it is worth highlighting the fundamental role of transcendent leadership, which, in addition to being results-oriented, must align the motivations of the collaborators with the mission. The anthropological management model conceives management as a service, and it is oriented to the interests of the staff and the public, in short, of the person; this is what enables the objectives of effectiveness, efficiency, and social value to be achieved; dimensions, all necessary for the proper development of the mission of the exhibitions. Fashion, understood as art, is at the service of culture, and therefore of the human being, which defines a transcendent mission. We conclude that the profile of an anthropological management model applied to fashion exhibitions in museums is the ideal one to achieve the purpose of these institutions.

Keywords: art, culture, fashion, anthropological model, fashion exhibitions

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Authors: Xiaoling Dai

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Many Chinese artists have used digital photography to create works with features of Chinese landscape paintings since the 20th century. The ‘New Mountains and Water’ works created by digital techniques reflect the fusion of photographic techniques and traditional Chinese aesthetic thoughts. Borrowing from Chinese landscape paintings in the Song Dynasty, the Chinese photographer Yao Lu uses digital photography to reflect contemporary environmental construction in his series New Landscapes. By portraying a variety of natural environments brought by urbanization in the contemporary period, Lu deconstructs traditional Chinese paintings and reconstructs contemporary photographic practices. The primary object of this study is to investigate how Chinese photographer Yao Lu redefines and re-interprets the relationship between tradition and contemporaneity. In this study, Yao Lu’s series work New Landscapes is used for photo elicitation, which seeks to broaden understanding of the development of Chinese landscape photography. Furthermore, discourse analysis will be used to evaluate how Chinese social developments influence the creation of photographic practices. Through visual and discourse analysis, this study aims to excavate the relationship between tradition and contemporaneity in Lu’s works. According to New Landscapes, the study argues that in Lu’s interpretations of landscapes, tradition and contemporaneity are seen to establish a new relationship. Traditional approaches to creation do not become obsolete over time. On the contrary, traditional notions and styles of creation can shed new light on contemporary issues or techniques.

Keywords: Chinese aesthetics, Yao Lu, new landscapes, tradition, contemporaneity

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Authors: Nihan Akdemir

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Clothes are more than a piece of fabric, and the most visible material item of the fashion symbol is the garment, which carries multiple and various meanings. The dynamism of the clothing symbol can carry open or closed codes depending on culture, gender, and social location. And each one can be the expression of social identity over ethnicity, religious beliefs, age, education and social class. Through observation of clothing styles over these items, the assumptions could be made about a person’s identity. A distinctive and typical style, form or character of the clothing such as ‘zoot suits’, ‘ao dai’, removes the garment from functional and ordinary element to the symbolic area. Clothing is an 'identification' tool that functions in determining the symbolic boundaries between people in a sense. And this paper includes the investigation of the relation between social identity and clothing and also fashion. And this relationship has been taken into consideration over the visual expression because even during the ancient times, the clothes were the basic and simple way of representing the identity and social classes. The visible expression of identity over clothing from Ancient Egypt to today’s clothing and fashion has been researched in this article. And all these items have been explained with visual images and supported by the literature investigations. Then the results have shown that every piece of clothing from fabric to coloring have visual significations about social identity.

Keywords: social identity, clothing, fashion, visual expression, visual signification

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Authors: Harpinder Kaur, Amit Madahar

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The terry fabric is one of the fastest growing and challenging sub-sectors of the textile industry. Terry fabrics are produced using ground weft, ground warp, and pile yarns. The terry fabrics not only finds applications in towels but also in home textile products, sauna dressing- gowns, slippers, jackets, garments, apparels, outerwears, overcoats, sweatshirts, children’s clothes, and hygiene products for babies, beachwear, sleepwear, gloves, scarfs, shawls, etc. In some cases, these wide ranges of applications not only demand a high degree of absorption but also necessitate the due consideration for the handle properties of the fabrics. These fabrics are required to be accessed for their performance in terms of absorbency and comfort characteristics. Since material (yarns, colors, fabrics, fashion, patrons, accessories and fittings) are the core elements of structure of fashion, hence textile and fashion go hand in hand. This paper throws some light on the performance evaluation of terry fabrics. Here, characteristics/features that are required to be achieved for satisfactory performance of the terry fabrics with reference to fashion are discussed. The terry fabrics are being modified over the years in terms of the raw material requirements such as 100% cotton or blends or cotton with other fibers in order to obtain better performance as well as their structural parameters including stitch length and stitch density etc.

Keywords: absorbency, comfort, cotton, performance, terry fabrics, fashion

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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: Hilde Heim

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The textile industry is known for its swift adoption of innovations in fashion technology (Fash-Tech). The industry is also known for its harmful effects on the environment. Opportunely, Fash-Tech is expected to facilitate the turn towards more sustainable practice. However, although several technologies have the potential for advancing sustainable practice, many industry players, whether large or small, are confused and misinformed about Fash-Tech adoption, application, and impact. Through a visual poster presentation, this project aims to map global fashion innovations along the supply chain from fibre production to waste management, thus providing a clearer picture of numbers, scale, and adoption. While the project aims to identify Fash-Tech effectiveness in reaching sustainability goals, it also identifies areas of congestion as well as insufficiency in the accessibility of Fash-Tech. This project intends to help inform future decisions in business, investment, and policy for the advancement of sustainable practice.

Keywords: fashion technology, sustainability, supply chain, enterprise management

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Authors: Chu Wai Ching, Kan Chi Wai

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Fashion industry is fast moving with intense competitions; it is hard for fashion retailers to stand out among their peers. In order to promote and enhance uniqueness, fashion retailers have collaborated with different brands or celebrity in their marketing campaign recently. As brand-celebrity collaboration is a growing phenomenon in the Hong Kong fashion industry, this research aims to investigate the effect of celebrity on altering consumer’s brand association and the overall attitude towards the co-branded products. One of the popular celebrity-collaborated fashion brands was chosen for this study and a survey was conducted among university students in Hong Kong which yielded 222 responses. By using factor analysis, linear regression and bootstrap test for the mediation, the results show that three celebrity attributes namely “expertise”, “trustworthiness” and “attractiveness” affect the evaluation of the co-branded products. In addition, the change in the association of the brand and co-branded product attributes mediates the relationship between the characteristics of the celebrity and the overall attitude of the co-branded product. The result shows “expertise” of the celebrity has a perfect mediation, while “trustworthiness” and “attractiveness” of the celebrity have partial mediation. This implies that expertise of the celebrity is capable in altering the association towards both the brand and core product attributes and bringing a positive attitude towards the co-brand. The trustworthiness and the attractiveness of the celebrity are able to alter the consumer association towards the brand, but do not guarantee a complete positive attitude towards the co-branded product. This means that change in brand attributes is not a definite mediator as direct relationship may happen or there may be other factors that can affect the relationship between the celebrity’s persuasiveness and the overall attitude towards the co-branded collection.

Keywords: brand attribute, brand-celebrity collaborations, co-branding, fashion industry

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Authors: Jichi Wu

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The dwindling of resources requires a more sustainable design. New technology could bring new materials and processing techniques to the fashion industry and push it to a more sustainable future. Thus this paper explores cutting-edge researches on the life-cycle of closed-loop products and aims to find innovative ways to recycle and upcycle. For such a goal, the author investigated how low utilization plants and leftover fiber could be turned into ecological textiles in fashion. Through examining the physical and chemical properties (cellulose content/ fiber form) of ecological textiles to explore their wearability, this paper analyzed the prospect of bio-fabrics (weavable plants) in body-oriented fashion design and their potential in sustainable fashion and textile design. By extracting cellulose from 9 different types or sections of plants, the author intends to find an appropriate method (such as ion solution extraction) to mostly increase the weavability of plants, so raw materials could be more effectively changed into fabrics. All first-hand experiment data were carefully collected and then analyzed under the guidance of related theories. The result of the analysis was recorded in detail and presented in an understandable way. Various research methods are adopted through this project, including field trip and experiments to make comparisons and recycle materials. Cross-discipline cooperation is also conducted for related knowledge and theories. From this, experiment data will be collected, analyzed, and interpreted into a description and visualization results. Based on the above conclusions, it is possible to apply weavable plant fibres to develop new textile and fashion.

Keywords: wearable bio-textile, sustainability, economy, ecology, technology, weavability, fashion design

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Authors: Kumalbeo Paul Kamani

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Marketing plays a very important role in the success of any firm since it represents the means through which a firm can reach its customers and also promotes its products and services. In fact, marketing aids the firm in identifying customers who the business can competitively serve, and tailoring product offerings, prices, distribution, promotional efforts, and services towards those customers. Unfortunately, in many firms, marketing has been reduced to merely advertisement. For effective marketing, firms must go beyond this often-limited function of advertisement. In the fashion industry in particular, marketing faces challenges due to its peculiar characteristics. Previous research for instance affirms the idiosyncrasy and peculiarities that differentiate the fashion industry from other industrial areas. It has been documented that the fashion industry is characterized seasonal intensity, short product life cycles, the difficulty of competitive differentiation, and long time for companies to reach financial stability. These factors are noted to pose obstacles to the fashion entrepreneur’s endeavours and can be the reasons that explain their low survival rates. In recent times, the fashion industry has been described as a market that is accessible market, has low entry barriers, both in terms of needed capital and skills which have all accounted for the burgeoning nature of startups. Yet as already stated, marketing is particularly challenging in the industry. In particular, areas such as marketing, branding, growth, project planning, financial and relationship management might represent challenges for the fashion entrepreneur but that have not been properly addressed by previous research. It is therefore important to assess marketing strategies of fashion firms and the factors influencing their success. This study generally sought to examine marketing strategies of fashion dealers in Ghana and their critical success factors. The study employed the quantitative survey research approach. A total of 120 fashion dealers were sampled. Questionnaires were used as instrument of data collection. Data collected was analysed using quantitative techniques including descriptive statistics and Relative Importance Index. The study revealed that the marketing strategies used by fashion apparels are text messages using mobile phones, referrals, social media marketing, and direct marketing. Results again show that the factors influencing fashion marketing effectiveness are strategic management, marketing mix (product, price, promotion etc), branding and business development. Policy implications are finally outlined. The study recommends among others that there is a need for the top management executive to craft and adopt marketing strategies that enable that are compatible with the fashion trends and the needs of the customers. This will improve customer satisfaction and hence boost market penetration. The study further recommends that the fashion industry in Ghana should seek to ensure that fashion apparels accommodate the diversity and the cultural setting of different customers to meet their unique needs.

Keywords: marketing, fashion, industry, success factors

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Authors: Mohd Zaimmudin Mohd Zain, Patsy Perry, Lee Quinn

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This study explores how fashion consumers are influenced by fashion bloggers towards pre-purchase decision for online fashion products in a non-Western context. Malaysians rank among the world’s most avid online shoppers, with apparel the third most popular purchase category. However, extant research on fashion blogging focuses on the developed Western market context. Numerous international fashion retailers have entered the Malaysian market from luxury to fast fashion segments of the market; however Malaysian fashion consumers must balance religious and social norms for modesty with their dress style and adoption of fashion trends. Consumers increasingly mix and match Islamic and Western elements of dress to create new styles enabling them to follow Western fashion trends whilst paying respect to social and religious norms. Social media have revolutionised the way that consumers can search for and find information about fashion products. For online fashion brands with no physical presence, social media provide a means of discovery for consumers. By allowing the creation and exchange of user-generated content (UGC) online, they provide a public forum that gives individual consumers their own voices, as well as access to product information that facilitates their purchase decisions. Social media empower consumers and brands have important roles in facilitating conversations among consumers and themselves, to help consumers connect with them and one another. Fashion blogs have become an important fashion information sources. By sharing their personal style and inspiring their followers with what they wear on popular social media platforms such as Instagram, fashion bloggers have become fashion opinion leaders. By creating UGC to spread useful information to their followers, they influence the pre-purchase decision. Hence, successful Western fashion bloggers such as Chiara Ferragni may earn millions of US dollars every year, and some have created their own fashion ranges and beauty products, become judges in fashion reality shows, won awards, and collaborated with high street and luxury brands. As fashion blogging has become more established worldwide, increasing numbers of fashion bloggers have emerged from non-Western backgrounds to promote Islamic fashion styles, such as Hassanah El-Yacoubi and Dian Pelangi. This study adopts a qualitative approach using netnographic content analysis of consumer comments on two famous Malaysian fashion bloggers’ Instagram accounts during January-March 2016 and qualitative interviews with 16 Malaysian Generation Y fashion consumers during September-October 2016. Netnography adapts ethnographic techniques to the study of online communities or computer-mediated communications. Template analysis of the data involved coding comments according to the theoretical framework, which was developed from the literature review. Initial data analysis shows the strong influence of Malaysian fashion bloggers on their followers in terms of lifestyle and morals as well as fashion style. Followers were guided towards the mix and match trend of dress with Western and Islamic elements, for example, showing how vivid colours or accessories could be worked into an outfit whilst still respecting social and religious norms. The blogger’s Instagram account is a form of online community where followers can communicate and gain guidance and support from other followers, as well as from the blogger.

Keywords: fashion bloggers, Malaysia, qualitative, social media

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Authors: Lisandy A. Suryana, Lidia Mayangsari, Santi Novani

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Creative industry in Indonesia become an important aspect of the economy. One of the sectors of creative industry which give the highest contribution toward Indonesia’s GDP is fashion sector. In line with the target of Indonesia in 2020 to be the qibla’ of moeslem fashion of the world, all of the stakeholders of the business ecosystem should collaborate. Rather than focus on the internal aspects of producer, external aspects such as customers, government, community, etc. become important to be involved in the ecosystem to support the development and sustainability of those fashion sector. Unfortunately, although Indonesia has the biggest moeslem population, the number of hijab business penetration only 10%. Therefore, this research aims to analyze and develop the virtual co-creation platform for hijab creative industry as the strategy to achieve sustainability and increase the market share. This preliminary research describes the main stakeholders in the hijab creative industry based on business model approach. This business model is adapted by considering the service science context, and the data is collected by using the qualitative approach especially in-depth interview. This business model shows the relationship between resource integration, value co-creation, the value proposition of the company, and also the financial aspect of the business.

Keywords: value co-creation, Hijab Fashion Industry, creative industry, service business model, business model canvas

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Authors: Jin Lam, Joe Au

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This study aims to investigate the impact of practicing expressive textile arts on the underprivileged people namely, ex-offenders after taking a three-month textile arts and fashion creativity workshops from a service-learning subject, offered by the Hong Kong Polytechnic University in May 2016. In this service-learning subject, the subject lecturers, students and ex-offenders co-designed various expressive textile artworks together. During the creative process, the ex-offenders could enhance their self-confidence and rebuild a satisfactory identity through practicing expressive textile arts and fashion creativity. Ten textile arts prototypes in the format of fashion garments were presented in a mini fashion show and an exhibition, both at the Hong Kong Polytechnic University in July 2016. A quantitative research method was adopted and a questionnaire survey was conducted in this study. The research findings suggest that positive impacts are found on the ex-offenders’ perceptions of ‘feelings and thoughts before attending the workshops’, ‘feelings and thoughts during the workshops’, ‘attitude toward the textile arts materials’, and ‘attitude toward the expressive textile artworks’.

Keywords: creativity, design, expressive textile arts, fashion, underprivileged people

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Authors: Anahita Suri

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Myriad cultures form the warp and weft of the fabric of this world. The last century saw mass migration of people across geographical boundaries, owing to industrialization and globalization. These people took with them their cultures, costumes, traditions, and folklore, which mingled with the local cultures to create something new and place it in a different context to make it contemporary. With the surge in population and growth of the fashion industry, there has been an increasing demand for innovative and individual fashion, from street markets to luxury brands. Exhausted by local influences, designers take inspiration from the so called ‘low’ culture and create artistic products, place it in a different context, and the end-product is categorized as ‘high’ culture. It is challenging as to why a design/culture is ‘high’ or ‘low’. Who decides which works, practices, activities, etc., are ‘high’ and which are ‘low’? The justification for this distinction is often found not in the design itself but the context attached to it. Also, the concept of high/ low is relative to time- what is ‘high’ today can be ‘low’ tomorrow and ‘high’ again the day after. This raises certain concerns. Firstly, it is sad that a culture which offers inspiration is looked down upon as ‘low’ culture. Secondly, it is ironic because the so designated ‘high’ culture is a manipulation of the truth from the authentic ‘low’ culture, which is capable of true expression. When you borrow from a different culture, you pretend to be authentic because you actually are not. Finally, it is important to be aware of crossing cultural boundaries and the context attached to a design/product so as to use it a responsible way that communicates the design without offending anyone. Is it ok for a person’s cultural identity to become another person’s fashion accessory? This essay explores the complex, multi-layered subject of fashion appropriation and aims to provoke debate over cultural ‘borrowing’ and create awareness that commodification of cultural symbols and iconography in fashion is inappropriate and offensive and not the same as ‘celebrating cultural differences’.

Keywords: context, culture, fashion appropriation, inoffensive, responsible

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Authors: Lisandy Arinta Suryana, Santi Novani, Utomo Sarjono

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Paradox of business strategic is associated with the contradictory practice. It becomes one of the critical way to survive and win in the dynamic competitive landscape – high level of uncertainty and rapid change in the business environment. Those characteristics are similar with the environment of hijab fashion business, especially in Indonesia. This paper aims to describe the success of paradoxical strategic based on historical data of hijab fashion business which have been validated by qualitative approach. This paper discusses two main aspects of paradoxical strategic such as paradox in human resource management, and logistic center management. Then, the detail effects from each practice are described in term of causal loop diagram. Moreover, the practice of paradoxical strategic depends on leadership that can make a brave and dynamic decision by capturing the main problems and opportunities in their business, and also build commitment to achieve a specific goal.

Keywords: paradox of business strategic, paradoxical strategic, causal loop diagram, sustainable business, hijab fashion business, business strategic

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Authors: Patricia Sumod

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There is a unique movement of fashion that features a trend around secondhand clothing. This is especially observed in the lifestyles of the millennials, where the concept of reusing apparel and accessories is noticeable and, therefore, slowly diminishing the high consumption of fast fashion and generating environmental awareness. This paper will focus on how this clothing trend influences and engages consumers in buying secondhand clothing and creating fashionable looks simultaneously. To further examine the millennials’ motivation towards consumption and using secondhand fashion, a concept as a trendsetter, this paper will take a closer look at their idea of concern for the environment. Considering second-hand clothing is a sustainable consumption practice, it will investigate the role of social influencers, trendsetters, and millennials in overall fashion consumption in this context. This study aims to understand how secondhand clothing and millennials differ from other consumers regarding the perception of fast-depleting natural resources, price sensitivity, vintage attachments, and psychographics. Secondly, the paper will also present the connection of emotion between millennials and secondhand clothing that may not be necessarily purchased but received. This study will reflect on the already identified influences in increased purchase behavior and an uncharted positive relationship between the consumer and the products. This behavior will further formulate into a habit by consumer segments, creating an expanded market for secondhand clothing. There is no definite indication that fast fashion will cease to exist, but slowing its rapid movement is an attempt to work toward a sustainable future. The conclusion will present possibilities for consumers to engage in C2C online interaction, thereby reinforcing a notable change in consumer behavior and attitude in contradiction to today’s extreme consumerism and willingness to be adaptable to a minimalist way of life. Fashion brands will then begin a new forecast to actively accommodate the new millennial concept of fashion that will advertise more concern than insatiability. The research will be with literature from various authors, insights provided by researchers on this new wave of consumers, and a qualitative approach with face-to-face interviews with a sample group who are in the practice of secondhand clothing consumption.

Keywords: second-hand clothing, millennials, sustainability, consumption practice, fashion environment.

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Authors: Arnab Adhikari, Arnab Bisi

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Since the inception, the fashion apparel supply chain is facing the problem of high demand uncertainty. Often the demand volatility compels the corresponding supply chain member to incur substantial holding cost and opportunity cost in case of the overproduction and the underproduction scenario, respectively. It leads to an uncoordinated fashion apparel supply chain. There exist several scholarly works to achieve coordination in the fashion apparel supply chain by employing the different contracts such as the buyback contract, the revenue sharing contract, the option contract, and so on. Specially, the application of option contract in the apparel industry becomes prevalent with the changing global scenario. Exploration of existing literature related to the option contract reveals that most of the research works concentrate on the one direction demand adjustment i.e. either to match the demand upwards or downwards. Here, we present a holistic approach to coordinate a dyadic fashion apparel supply chain comprising one manufacturer and one retailer with the help of bidirectional option contract. We show a combination of wholesale price contract and bidirectional option contract can coordinate the under expanded supply chain. We also propose a framework that captures the variation of the apparel retailer’s order quantity and the apparel manufacturer’s production quantity with the changing exercise price for the different ranges of the option price. We analytically explore that corresponding cost parameters of the supply chain members along with the nature of demand distribution play an instrumental role in the coordination as well as the retailer’s ordering decision.

Keywords: fashion apparel supply chain, supply chain coordination, wholesale price contract, bidirectional option contract

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Authors: Ani Hambardzumyan

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The influence of Greek culture and Greek mythology on the fashion industry is enormous. The first reason behind this is that Greek culture is one of the core elements to form the clothing tradition in Europe. French fashion houses have always been considered one of the leading cloth representatives in the world. As we could perceive in the first chapter, they are among the first ones to get inspired from Greek cultural heritage and apply it while creating their garments. The French fashion industry has kept traditional classical elements in clothes for decades. However, from the second half of the 20th century, this idea started to alter step by step. Society was transforming its vision with the influence of avant-garde movements. Hence, the fashion industry needed to transform its conception as well. However, it should be mentioned that fashion brands never stopped looking at the past when creating a new perspective or vision. Paradoxically, Greek mythology and clothing tradition continued to be applied even in the search of new ideas or new interpretations. In 1997 Alexander McQueen presents his first Haute Couture collection for French fashion house Givenchy, inspired by Greek mythology and titled ‘‘Search for The Golden Fleece.’’ Perhaps, this was one of the most controversial Haute Couture shows that French audience could expect to see and French media could capture and write about. The paper discuss Spring/Summer 1997 collection ‘‘The Search of Golden Fleece’’ by Alexander McQueen. It should be mentioned that there has not been yet conducted researches to analyze the mythological and archetypal nature of the collection, as well as general observations that go beyond traditional historical reviews are few in number. Here we will observe designer’s transformative new approach regarding Greek heritage and the media’s perception of it while collection was presented. On top of that, we will observe Alexander McQueen life in the parallel line with the fashion show since the collection is nothing else but the sublimation of his personal journey and drama.

Keywords: mythology, mcqueen, the argonaut, french fashion, golden fleece, givenchy

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Authors: Lam Hong Lan

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The textile industry is said to be the second-largest polluter, responsible for 92 million tonnes of waste annually. There is an urgent need to practice the circular economy to increase the use and reuse around the world. By its nature, the pre-owned fashion business is considered part of the circular economy as it helps to eliminate waste and circulate products. Second-hand clothes and accessories used to be associated with a ‘cheap image’ that carried ‘old energy’ in Vietnam. This perception has been shifted, especially amongst the younger generation. Vietnamese consumer is spending more on products and services that increase self-esteem. The same consumer is moving away from a collectivist social identity towards a ‘me, not we’ outlook as they look for a way to express their individual identity. And pre-owned fashion is one of their solutions as it values money, can create a unique personal style for the wearer and links with sustainability. The design of this study is based on the second-hand shopping motivation theory. A semi-structured online survey with 100 consumers from one pre-owned clothing community and one pre-owned e-commerce site in Vietnam. The findings show that in contrast with Vietnamese older consumers (55+yo) who, in the previous study, generally associated pre-owned fashion with ‘low-cost’, ‘cheap image’ that carried ‘old energy’, young customers (20-30 yo) were actively promoted their pre-owned fashion items to the public via outlet’s social platforms and their social media. This cultural shift comes from the impact of global and local discourse around sustainable fashion and the growth of digital platforms in the pre-owned fashion business in the last five years, which has generally supported wider interest in pre-owned fashion in Vietnam. It can be summarised in three areas: (1) global and local celebrity influencers. A number of celebrities have been photographed wearing vintage items in music videos, photoshoots or at red carpet events. (2) E-commerce and intermediaries. International e-commerce sites – e.g., Vinted, TheRealReal – and/or local apps – e.g., Re.Loved – can influence attitudes and behaviors towards pre-owned consumption. (3) Eco-awareness. The increased online coverage of climate change and environmental pollution has encouraged customers to adopt a more eco-friendly approach to their wardrobes. While sustainable biomaterials and designs are still navigating their way into sustainability, sustainable consumerism via pre-owned fashion seems to be an immediate solution to lengthen the clothes lifecycle. This study has found that young consumers are primarily seeking value for money and/or a unique personal style from pre-owned/vintage fashion while using these purchases to promote their own “eco-awareness” via their social media networks. This is a good indication for fashion designers to keep in mind in their design process and for fashion enterprises in their business model’s choice to not overproduce fashion items.

Keywords: cultural shift, pre-owned fashion, sustainable consumption, sustainable fashion.

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Authors: Magdi Elmessiry, Adel Elmessiry

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The fashion industry represents a significant portion of the global gross domestic product, however, it is plagued by cheap imitators that infringe on the trademarks which destroys the fashion industry's hard work and investment. While eventually the copycats would be found and stopped, the damage has already been done, sales are missed and direct and indirect jobs are lost. The infringer thrives on two main facts: the time it takes to discover them and the lack of tracking technologies that can help the consumer distinguish them. Blockchain technology is a new emerging technology that provides a distributed encrypted immutable and fault resistant ledger. Blockchain presents a ripe technology to resolve the infringement epidemic facing the fashion industry. The significance of the study is that a new approach leveraging the state of the art blockchain technology coupled with artificial intelligence is used to create a framework addressing the fashion infringement problem. It transforms the current focus on legal enforcement, which is difficult at best, to consumer awareness that is far more effective. The framework, Crypto CopyCat, creates an immutable digital asset representing the actual product to empower the customer with a near real time query system. This combination emphasizes the consumer's awareness and appreciation of the product's authenticity, while provides real time feedback to the producer regarding the fake replicas. The main findings of this study are that implementing this approach can delay the fake product penetration of the original product market, thus allowing the original product the time to take advantage of the market. The shift in the fake adoption results in reduced returns, which impedes the copycat market and moves the emphasis to the original product innovation.

Keywords: fashion, infringement, blockchain, artificial intelligence, textiles supply chain

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Authors: Patrick Ho

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Bloodstain Pattern Analysis (BPA) forensic evidence can be complex, requiring effective courtroom presentation to ensure clear and comprehensive understanding of the analyst’s findings. BPA witness statements can often involve reference to spatial information (such as location of rooms, objects, walls) which, when coupled with classified blood patterns, may illustrate the reconstructed movements of suspects and injured parties. However, it may be difficult to communicate this information through photography alone, despite this remaining the UK’s established method for presenting BPA evidence. Through an academic-police partnership between the University of Warwick and West Midlands Police (WMP), an integrated 3D scanning and HDR photography workflow for BPA was developed. Homicide scenes were laser scanned and, after processing, the 3D models were utilised in the BPA peer-review process. The same 3D models were made available for court but were not always utilised. This workflow has improved the ease of presentation for analysts and provided 3D scene models that assist with the investigation. However, the effects of incorporating 3D scene models in judicial processes may need to be studied before they are adopted more widely. 3D models from a simulated crime scene and West Midlands Police cases approved for conference disclosure are presented. We describe how the workflow was developed and integrated into established practices at WMP, including peer-review processes and witness statement delivery in court, and explain the impact the work has had on the Criminal Justice System in the West Midlands.

Keywords: bloodstain pattern analysis, forensic science, criminal justice, 3D scanning

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