Search results for: avant-garde fashion

Authors: Anupam Bhatia

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Upon reviewing the literature and the pragmatic work done in the field of E- textiles, it is observed that the applications of wearable technologies have found a steady growth in the field of military, medical, industrial, sports; whereas fashion is at a loss to know how to treat this technology and bring it to market. The purpose of this paper is to understand the practical issues of integration of electronics in garments; cutting patterns for mass production, maintaining the basic properties of textiles and daily maintenance of garments that hinder the wide adoption of interactive fabric technology within Fashion and leisure wear. To understand the practical hindrances an experimental and laboratory approach is taken. “Techno Meets Fashion” has been an interactive fashion project where sensor technologies have been embedded with textiles that result in set of ensembles that are light emitting garments, sound sensing garments, proximity garments, shape memory garments etc. Smart textiles, especially in the form of textile interfaces, are drastically underused in fashion and other lifestyle product design. Clothing and some other textile products must be washable, which subjects to the interactive elements to water and chemical immersion, physical stress, and extreme temperature. The current state of the art tends to be too fragile for this treatment. The process for mass producing traditional textiles becomes difficult in interactive textiles. As cutting patterns from larger rolls of cloth and sewing them together to make garments breaks and reforms electronic connections in an uncontrolled manner. Because of this, interactive fabric elements are integrated by hand into textiles produced by standard methods. The Arduino has surely made embedding electronics into textiles much easier than before; even then electronics are not integral to the daily wear garments. Soft and flexible interfaces of MEMS (micro sensors and Micro actuators) can be an option to make this possible by blending electronics within E-textiles in a way that’s seamless and still retains functions of the circuits as well as the garment. Smart clothes, which offer simultaneously a challenging design and utility value, can be only mass produced if the demands of the body are taken care of i.e. protection, anthropometry, ergonomics of human movement, thermo- physiological regulation.

Keywords: ambient intelligence, proximity sensors, shape memory materials, sound sensing garments, wearable technology

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Authors: A. Ezza, B. M. Babar Ramzan, C. Hira

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This study deliberates emerging design activates in 3D printing technology, the paper provides the insight into the broad opportunities in 3D printing applications in fashion world. 3D printing is becoming a reason for reduction of lead time. The process engenders the precise models and one of prototype components for design approbation; trail and testing significance through the production components to be utilized in true working environments. This emerging technology have given elevate to an emergent realm of digitally fabricated art and design. Bitonic Creations, CONTINUUM (3D printed shoes), Jiri Evenhuis, Michael Schmidt have be giving extensive amassments of haute couture dresses and accessories. Cosyflex TM, N12 undergarments are examples of an innovative process for 3D printing. Varied types of liquid polymers such as latex, silicon, polyurethane and Teflon as well as a variety of textile fibers such as cotton, viscose and polyamide enable tailor made fabrics for any need. Patterns, perforations, embossing and embellishments may be created by printing on 3D structure base plate. Computer solidifies material feedstock layer by layer with micro-millimeter detail. In lieu of producing textiles by meter, then cutting and sewing them into final product, 3D printing can become a reason to make sewing equipment obsolete. The findings positively corroborates the expected advantage of 3D printed sample that seem to facilitate the first steps for designer.

Keywords: 3D printing, customization, fashion industry, Haute couture

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Authors: Aboagye Boye Gilbert

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Teaching and learning (Education), not only in Ghana but the whole world is regarded as the (Stepping stone) vehicle to accelerate the country’s economy, development and social growth. Basically the ingredients for human development and the country in general is Vocational and Technical education and this has been stressed in Ghana’s education system since Pre-independence. To this effect, this research seeks to determine using demonstration method of Teachings sewing to improve the skills of form 3 Fashion Designing students of Baworo Integrated Community Centre for Employable Skills. In this research, reviewed literature on opinions of other researchers and what other people have done and said on related articles or topics, analyzed the research design used, translate the data gathered in the study. The study was design to gather information from the school on how they use Teaching methods to teach sewing. The targeted respondent contacted to give assistance Consist of students from BICCES, fashion teachers and tailored garment makers. The sample size consisted of 5 teachers, 20 students and 5 tailors were selected to answer questionnaire items that were used to gather the data for the study. The study revealed that most teachers and students agreed to the fact that demonstration, teaching and learning materials had a positive attitude towards the students in learning sewing. The study recommends that there should be more mechanisms in place to serve as a guide.

Keywords: VOTEC, BECE, BICCES, SHS

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Authors: Lizhu Y. Davis, Gretchen Higginbottom, Vang Vang

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This presentation explores the adoption of library resources to engage students in a Visual Merchandising course during the 2016 spring semester. This study was a cross-disciplinary collaboration between the Fashion Merchandising Program and the Madden Library at California State University, Fresno. The goal of the project was to explore and assess the students’ use of library resources as a part of the Affordable Learning Solutions Initiative, a California State University (CSU) Office of the Chancellor Program that enables faculty to choose and provide high-quality, free or low-cost educational materials for their students. Students were interviewed afterwards and the results were generally favorable and provided insight into how students perceive and use library resources to support their research needs. This study reveals an important step in examining how open educational resources impact student learning.

Keywords: collaboration, library resources, open educational resources, visual merchandising

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Authors: Sue Hershberger Yoder, Jon Yoder

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“The appearance does not hide the essence, it reveals it; it is the essence.”—Jean-Paul Sartre, Being and Nothingness Three decades ago, transarchitect Marcos Novak developed an early form of algorithmic animation he called “liquid architecture.” In that project, digitally floating forms morphed seamlessly in cyberspace without claiming to evolve or improve. Change itself was seen as inevitable. And although some imagistic moments certainly stood out, none was hierarchically privileged over another. That project challenged longstanding assumptions about creativity and artistic genius by posing infinite parametric possibilities as inviting alternatives to traditional notions of stability, originality, and evolution. Through ephemeral processes of printing, milling, and projecting, the exhibition “Liquid Illumination” destabilizes the solid foundations of fashion and architecture. The installation is neither worn nor built in the conventional sense, but—like the sensual art forms of fashion and architecture—it is still radically embodied through the logics and techniques of design. Appearances are everything. Surface pattern and color are no longer understood as minor afterthoughts or vapid carriers of dubious content. Here, they become essential but ever-changing aspects of precisely fabricated images. Fourteen silk “colorways” (a term from the fashion industry) are framed selections from ongoing experiments with intricate pattern and complex color configurations. Whether these images are printed on fabric, milled in foam, or illuminated through projection, they explore and celebrate the untapped potentials of the surficial and superficial. Some components of individual prints appear to float in front of others through stereoscopic superimpositions; some figures appear to melt into others due to subtle changes in hue without corresponding changes in value; and some layers appear to vibrate via moiré effects that emerge from unexpected pattern and color combinations. The liturgical atmosphere of Liquid Illumination is intended to acknowledge that, like the simultaneously sacred and superficial qualities of rose windows and illuminated manuscripts, artistic and religious ideologies are also always malleable. The intellectual provocation of this paper pushes the boundaries of current thinking concerning viable applications for fashion print designs and architectural images—challenging traditional boundaries between fine art and design. The opportunistic installation of digital printing, CNC milling, and video projection mapping in a gallery that is normally reserved for fine art exhibitions raises important questions about cultural/commercial display, mass customization, digital reproduction, and the increasing prominence of surface effects (color, texture, pattern, reflection, saturation, etc.) across a range of artistic practices and design disciplines.

Keywords: fashion, print design, architecture, projection mapping, image, fabrication

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Authors: Shelby Simpson, William Stanley, Namir Naba, Xiaodi Wang

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Both t-SNE and UMAP are brand new state of art tools to predominantly preserve the local structure that is to group neighboring data points together, which indeed provides a very informative visualization of heterogeneity in our data. In this research, we develop a t-SNE and UMAP base neural network image classification algorithm to embed the original dataset to a corresponding low dimensional dataset as a preprocessing step, then use this embedded database as input to our specially designed neural network classifier for image classification. We use the fashion MNIST data set, which is a labeled data set of images of clothing objects in our experiments. t-SNE and UMAP are used for dimensionality reduction of the data set and thus produce low dimensional embeddings. Furthermore, we use the embeddings from t-SNE and UMAP to feed into two neural networks. The accuracy of the models from the two neural networks is then compared to a dense neural network that does not use embedding as an input to show which model can classify the images of clothing objects more accurately.

Keywords: t-SNE, UMAP, fashion MNIST, neural networks

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Authors: Lam Hong Lan, Gabor Sarlos

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It is hard to search for best practices in promotion for local fashion brands in Vietnam as the industry is still very young. Local fashion start-ups have grown quickly in the last five years, thanks in part to the internet and social media. However, local designer/owners can face a huge challenge when competing with international brands in the Vietnamese market – and few local case studies are available for guidance. In response, this paper studied how local small- to medium-sized enterprises (SMEs) promote to their target customers in order to compete with international brands. Knowledge of both successful and unsuccessful approaches generated by this study is intended to both contribute to the academic literature on local fashion in Vietnam as well as to help local designers to learn from and improve their brand-building strategy. The primary study featured qualitative data collection via semi-structured depth interviews. Transcription and data analysis were conducted manually in order to identify success factors that local brands should consider as part of their promotion strategy. Purposive sampling of SMEs identified five designers in Ho Chi Minh City (the biggest city in Vietnam) and three designers in Hanoi (the second biggest) as interviewees. Participant attributes included: born in the 1980s or 1990s; familiar with internet and social media; designer/owner of a successful local fashion brand in the key middle market and/or mass market segments (which are crucial to the growth of local brands). A secondary study was conducted using social listening software to gather further qualitative data on what were considered to be successful or unsuccessful approaches to local fashion brand promotion on social media. Both the primary and secondary studies indicated that local designers had maximized their promotion budget by using owned media and earned media instead of paid media. Findings from the qualitative interviews indicate that internet and social media have been used as effective promotion platforms by local fashion start-ups. Facebook and Instagram were the most popular social networks used by the SMEs interviewed, and these social platforms were believed to offer a more affordable promotional strategy than traditional media such as TV and/or print advertising. Online stores were considered an important factor in helping the SMEs to reach customers beyond the physical store. Furthermore, a successful online store allowed some SMEs to reduce their business rental costs by maintaining their physical store in a cheaper, less central city area as opposed to a more traditional city center store location. In addition, the small comparative size of the SMEs allowed them to be more attentive to their customers, leading to higher customer satisfaction and rate of return. In conclusion, this study found that these kinds of cost savings helped the SMEs interviewed to focus their scarce resources on producing unique, high-quality collections in order to differentiate themselves from international brands. Facebook and Instagram were the main platforms used for promotion and brand-building. The main challenge to this promotion strategy identified by the SMEs interviewed was to continue to find innovative ways to maximize the impact of a limited marketing budget.

Keywords: Vietnam, SMEs, fashion brands, promotion, marketing, social listening

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Authors: Y. N. Fung, R. Liu, T. M. Choi

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The life cycle assessment (LCA) is widely applied in the study of the sustainable fashion industry. Through the LCA, the social, environmental, and economic performances of the fashion industry can be assessed, which helps sustainable product developers (designers, retailers, and manufacturers) to address problems in product development. In prior studies, environmental impact, economic performance, and social responsibility are commonly considered separately. Inter-relations between dimensions of sustainability and LCA are rarely reported. The development process of sustainable sportswear products is complicated. Changes in the product components (e.g., materials, manufacturing methods, and product design) of sportswear will correspondingly influence supply chain activities and meanwhile affect environmental, economic, and social performances. In this study, the interrelations between different LCAs and how the interrelated LCAs can help product developers to strike a balance among environmental, economic, and social performances are explored. Based on the findings, a three-dimensional assessment framework on the sustainability life cycle is introduced. To examine the applicability of the developed framework, proof-of-concept sportswear legging products were developed. The developed sportswear legging products were assessed in terms of the interrelated dimensions of environmental, economic, and social performances. The results demonstrate the effects of shifting in desig¬n details and product functions on the environmental, social, and economic performances of sportswear products. The outcome of this study provides insights on the approach to balance sustainability and the development of cost-effective and sustainable sportswear products for sportswear developers.

Keywords: sustainable development, sports fashion, life cycle assessment, indicators for sustainability, sustainability impacts

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Authors: Juliana Bastos dos Santos, Francisca Dantas Mendes, Abdul Jabbar Mohammad Khatri, Adam Abdul Jabbar Khatri

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This research aims to describe the experimentation of color extraction from household waste, for the application of the natural vegetable dyeing technique, as a more sustainable option for the upcycling process. Based on the research of the case study, this article intends to record the process of collecting the materials, extracting the colors and their applicability. The study aims to deepen the knowledge about possible alternatives that generate less impact on the environment throughout the process of plant stamping and, also, to spread the concepts of sustainability in fashion. Therefore, this content becomes relevant for valuing an artisanal production process, reconnecting with ancestral knowledge. This article also intends to serve as a record of ancestral artisanal processes, based on the indigenous and African matrices that are pillars of Brazilian culture.

Keywords: natural dyeing, sustainability, organic residue, fashion, reuse

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Authors: Juliette MacDonald, Jun Li, Wenji Xiang, Mingwei Zhao

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Shanghai International College of Fashion and Innovation (SCF) was created as a result of a collaborative partnership agreement between the University of Edinburgh and Donghua University. The College provides two programmes: Fashion Innovation and Fashion Interior Design and the overarching curriculum has the intention of developing innovation and creativity within an international learning, teaching, knowledge exchange and research context. The research problem presented here focuses on the multi-national/cultural faculty in the team, the challenges arising from difficulties in communication and the associated limitations of management frameworks. The teaching faculty at SCF are drawn from China, Finland, Korea, Singapore and the UK with input from Flying Faculty from Fashion and Interior Design, Edinburgh College of Art (ECA), for 5 weeks each semester. Rather than fully replicating the administrative and pedagogical style of one or other of the institutions within this joint partnership the aim from the outset was to create a third way which acknowledges the quality assurance requirements of both Donghua and Edinburgh, the academic and technical needs of the students and provides relevant development and support for all the SCF-based staff and Flying Academics. It has been well acknowledged by those who are involved in teaching across cultures that there is often a culture shock associated with transnational education but that the experience of being involved in the delivery of a curriculum at a Joint Institution can also be very rewarding for staff and students. It became clear at SCF that if a third way might be achieved which encourages innovative approaches to fashion education whilst balancing the expectations of Chinese and western concepts of education and the aims of two institutions, then it was going to be necessary to construct a framework which developed close working relationships for the entire teaching team, so not only between academics and students but also between technicians and administrators at ECA and SCF. The attempts at co-construction and integration are built on the sharing of cultural and educational experiences and knowledge as well as provision of opportunities for reflection on the pedagogical purpose of the curriculum and its delivery. Methods on evaluating the effectiveness of these aims include a series of surveys and interviews and analysis of data drawn from teaching projects delivered to the students along with graduate successes from the last five years, since SCF first opened its doors. This paper will provide examples of best practice developed by SCF which have helped guide the faculty and embed common core values and aims of co-construction regulations and management, whilst building a pro-active TNE (Trans-National Education) team which enhances the learning experience for staff and students alike.

Keywords: cultural co-construction, educational team management, multi-cultural challenges, TNE integration for teaching teams

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Authors: Ghulam Shabir, Masood Nadeem

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The research work has been done on the Portrayal of Foreign Culture including Film, Art, and Drama in Pakistani English newspapers (Dawn and The News). For this purpose the weekly newspapers of three months (January to March) of the years 1990, 1995, 2000, 2005, and 2010 were analyzed. Content Analysis was employed for data interpretation and to draw the inferences. It was explored that to what extent the Foreign Culture has been depicted in our print media in the form of Film, Art, and Drama in comparison to Pakistani cultural context. The qualitative analysis revealed that Pakistani English newspapers gave more coverage to Foreign Culture. Pakistani film, art, and drama related issues have been less portrayed in the form of stories, columns, pictures, and news about music, fashion, ceremonies, programs, and shows. However, most of the space has been occupied by Western and Indian pictures, and news about music, fashion, ceremonies, programs and shows on the Cultural Page of these English newspapers.

Keywords: newspapers, portrayal of foreign culture, qualitative analysis, Pakistani English newspapers

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Authors: Jimmy K. C. Lam, Carrie Wong

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One of the key goals on Learning and Teaching as documented in the University strategic plan 2012/13 – 2017/18 is to encourage active learning, the use of innovative teaching approaches and technology, and promoting the adoption of flexible and varied teaching delivery methods. This research reported the recent visited to Prof Eric Mazur at Harvard University on Peer Instruction: Collaborative learning in large class and innovative use of technology to enable new mode of learning. Peer Instruction is a research-based, interactive teaching method developed by Prof. Eric Mazur at Harvard University in the 1990s. It has been adopted across the disciplines, institutional type and throughout the world. One problem with conventional teaching lies in the presentation of the material. Frequently, it comes straight out of textbook/notes, giving students little incentive to attend class. This traditional presentation is always delivered as monologue in front of passive audience. Only exceptional lecturers are capable of holding students’ attention for an entire lecture period. Consequently, lectures simply reinforce students’ feelings that the most important step in mastering the material is memorizing a zoo of unrelated examples. In order to address these misconceptions about learning, Prof Mazur’s Team developed “Peer Instruction”, a method which involves students in their own learning during lectures and focuses their attention on underling concepts. Lectures are interspersed with conceptual questions called Concept Tests, designed to expose common difficulties in understanding the material. The students are given one or two minutes to think about the question and formulate their own answers; they then spend two or three minutes discussing their answers in a group of three or four, attempting to reach consensus on the correct answer. This process forces the students to think through the arguments being developed, and enable them to assess their understanding concepts before they leave the classroom. The findings from Peer Instruction and innovative use of technology on teaching at Harvard University were applied to the first year Textiles and Fashion students in Hong Kong. Survey conducted from 100 students showed that over 80% students enjoyed the flexibility of peer instruction and 70% of them enjoyed the instant feedback from the Clicker system (Student Response System used at Harvard University). Further work will continue to explore the possibility of peer instruction to art and fashion students.

Keywords: peer instruction, education, technology, fashion

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Authors: Tiziana Ferrero-Regis, Marissa Lindquist

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Circular Economy (CE) is increasingly seen as the reorganisation of production and consumption, and cities are acknowledged as the sources of many ecological and social problems; at the same time, they can be re-imagined through an ecologically and socially resilient future. The concept of the CE has received pointed critiques for its techno-deterministic orientation, focus on science and transformation by the policy. At the heart of our local re-imagining of the CE into circularity through contact zones there is the acknowledgment of collective, spontaneous and shared imaginations of alternative and sustainable futures through the creation of networks of community initiatives that are transformative, creating opportunities that simultaneously make cities rich and enrich humans. This paper presents a mapping project of the fashion and textile ecosystem in Brisbane, Queensland, Australia. Brisbane is currently the most aspirational city in Australia, as its population growth rate is the highest in the country. Yet, Brisbane is considered the least “fashion city” in the country. In contrast, the project revealed a greatly enhanced picture of distinct fashion and textile clusters across greater Brisbane and the adjacency of key services that may act to consolidate CE community contact zones. Clusters to the north of Brisbane and several locales to the south are zones of a greater mix between public/social amenities, walkable zones and local transport networks with educational precincts, community hubs, concentration of small enterprises, designers, artisans and waste recovery centers that will help to establish knowledge of key infrastructure networks that will support enmeshing these zones together. The paper presents two case studies of independent designers who work on new and re-designed clothing through recovering pre-consumer textiles and that operate from within creative precincts. The first case is designer Nelson Molloy, who recently returned to the inner city suburb of West End with their Chasing Zero Design project. The area was known in the 1980s and 1990s for its alternative lifestyle with creative independent production, thrifty clothing shops, alternative fashion and a socialist agenda. After 30 years of progressive gentrification of the suburb, which has dislocated many of the artists, designers and artisans, West End is seeing the return and amplification of clusters of artisans, artists, designers and architects. The other case study is Practice Studio, located in a new zone of creative growth, Bowen Hills, north of the CBD. Practice Studio combines retail with a workroom, offers repair and remaking services, becoming a point of reference for young and emerging Australian designers and artists. The paper demonstrates the spatial politics of the CE and the way in which new cultural capital is produced thanks to cultural specificities and resources. It argues for the recognition of contact zones that are created by local actors, communities and knowledge networks, whose grass-roots agency is fundamental for the co-production of CE’s systems of local governance.

Keywords: contact zones, circular citities, fashion and textiles, circular neighbourhoods, australia

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Authors: Joe Amalraj, M. Arunkumar

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Haze is an atmospheric phenomenon that signicantly degrades the visibility of outdoor scenes. This is mainly due to the atmosphere particles that absorb and scatter the light. This paper introduces a novel single image approach that enhances the visibility of such degraded images. In this method is a fusion-based strategy that derives from two original hazy image inputs by applying a white balance and a contrast enhancing procedure. To blend effectively the information of the derived inputs to preserve the regions with good visibility, we filter their important features by computing three measures (weight maps): luminance, chromaticity, and saliency. To minimize artifacts introduced by the weight maps, our approach is designed in a multiscale fashion, using a Laplacian pyramid representation. This paper demonstrates the utility and effectiveness of a fusion-based technique for de-hazing based on a single degraded image. The method performs in a per-pixel fashion, which is straightforward to implement. The experimental results demonstrate that the method yields results comparative to and even better than the more complex state-of-the-art techniques, having the advantage of being appropriate for real-time applications.

Keywords: single image de-hazing, outdoor images, enhancing, DSP

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Authors: Muhammad Ahmad

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In this research, Chrysanthemum (morifolium) flowers are used as a natural dye to reduce synthetic dyes and take a step toward sustainability in the fashion industry. The aqueous extraction method is utilized for natural dye extraction and then applied to silk and cotton fabric samples. The color of the dye extracted from dried chrysanthemum flowers is originally a shade of rich green, but after being washed with detergent, it turns to a shade of yellow. Traditional salt and vinegar are used as a natural mordant to fix the dye color. This study also includes a phenolic and chemical analysis of the natural dye (Chrysanthemum flowers) and the textiles (cotton and silk). Compared to cotton fabric, silk fabric has far superior chemical qualities to use in natural dyeing. The results of this study show that the Chrysanthemum flower offers a variety of colors when treated with detergent, without detergent, and with mordants. Chrysanthemum flowers have long been used in other fields, such as medicine; therefore, it is time to start using them in the fashion industry as a natural dye to lessen the harm that synthetic dyes cause.

Keywords: natural dyes, Chrysanthemum flower, sustainability, textile fabrics, chemical and phenolic analysis

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Authors: Zofija Tupikovskaja-Omovie, David Tyler, Sam Dhanapala, Steve Hayes

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The UK is leading in online retail and mobile adoption. However, there is a dearth of information relating to mobile apparel retail, and developing an understanding about consumer browsing and purchase behavior in m-retail channel would provide apparel marketers, mobile website and app developers with the necessary understanding of consumers’ needs. Despite the rapid growth of mobile retail businesses, no published study has examined shopping behaviour on fashion mobile websites and apps. A mixed method approach helped to understand why fashion consumers prefer websites on mobile devices, when mobile apps are also available. The following research methods were employed: survey, eye-tracking experiments, observation, and interview with retrospective think aloud. The mobile gaze tracking device by SensoMotoric Instruments was used to understand frustrations in navigation and other issues facing consumers in mobile channel. This method helped to validate and compliment other traditional user-testing approaches in order to optimize user experience and enhance the development of mobile retail channel. The study involved eight participants - females aged 18 to 35 years old, who are existing mobile shoppers. The participants used the Topshop mobile app and website on a smart phone to complete a task according to a specified scenario leading to a purchase. The comparative study was based on: duration and time spent at different stages of the shopping journey, number of steps involved and product pages visited, search approaches used, layout and visual clues, as well as consumer perceptions and expectations. The results from the data analysis show significant differences in consumer behaviour when using a mobile app or website on a smart phone. Moreover, two types of problems were identified, namely technical issues and human errors. Having a mobile app does not guarantee success in satisfying mobile fashion consumers. The differences in the layout and visual clues seem to influence the overall shopping experience on a smart phone. The layout of search results on the website was different from the mobile app. Therefore, participants, in most cases, behaved differently on different platforms. The number of product pages visited on the mobile app was triple the number visited on the website due to a limited visibility of products in the search results. Although, the data on traffic trends held by retailers to date, including retail sector breakdowns for visits and views, data on device splits and duration, might seem a valuable source of information, it cannot explain why consumers visit many product pages, stay longer on the website or mobile app, or abandon the basket. A comprehensive list of pros and cons was developed by highlighting issues for website and mobile app, and recommendations provided. The findings suggest that fashion retailers need to be aware of actual consumers’ behaviour on the mobile channel and their expectations in order to offer a seamless shopping experience. Added to which is the challenge of retaining existing and acquiring new customers. There seem to be differences in the way fashion consumers search and shop on mobile, which need to be explored in further studies.

Keywords: consumer behavior, eye-tracking technology, fashion retail, mobile app, m-retail, smart phones, topshop, user experience, website

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Authors: Nora Alomar, Bianca Alexandra Stefa, Saleh Bazi

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This research uncovers the determinants that drive millennial consumers to adhere to product return of fast-fashion products purchases via e-commerce and what effects it has on consumer experience and satisfaction. Online consumption has skyrocketed, with e-commerce being the only, most reliable, and safe method of shopping during and post Covid-19. It has been noted customers are demanding a wide variety of product characteristics and a generous optimal return policy. The authors have selected to examine millennial consumers as they are digital natives and have an affinity for researching, reading product reviews, and shopping online, with a great spending power due to a higher disposable income in comparison to other generations. A multi-study approach is adopted, where study one (interviews, sample of 20 respondents) investigates the factors that drive product return, and study two (PLS-SEM, sample of 250 respondents) looks into the relationships of product return management against behavioral outcomes by having the generated factors (from study one) as moderators. Five themes are generated from study one (return policies, product characteristics, delivery lead time, seasonality, product trial & overspending). The authors identify that two out of the five factors (seasonality, product trial & overspending) have not been highlighted by the literature. The paper examines 11 hypotheses, where 10 are supported. Findings highlight the quality of the product return management influences the overall millennial customer experience and satisfaction. Findings also indicate that product return management was identified to have a significant negative effect on customer experience. Additionally, seasonality has a significant but negative moderation, which means increasing seasonality decreases the relationship between product return management and customer experience and satisfaction. Results highlight that return policies have a significant negative influence on the relationship between returning a product and customer experience and satisfaction. Moreover, product characteristics are also identified to have a significant negative influence on the relationship between returning a product and customer experience and satisfaction. This study further examines the influence of the factors on direct e-commerce websites and third-party e-commerce websites. Findings showcase a strong statistical significance for the increased rate of return of fast-fashion products on third-party websites. This paper aids practitioners in taking strategic decisions related to return management, to improve the quality of logistical services and, in turn, increase profitability.

Keywords: customer experience, customer satisfaction, e-commerce, fast-fashion, product returns

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Authors: Bukra Kalayci, Geraldine Brennan

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Introduction: Over the last decade, a proliferation of literature related to textile and fashion business in the context of sustainable production and consumption has emerged. However, the economic and environmental benefits of solid waste recovery have not been comprehensively searched. Therefore at the end-of-life or end-of-use textile waste management remains a gap. Solid textile waste reuse and recycling principles of the circular economy need to be developed to close the disposal stage of the textile supply chain. The environmental problems associated with the over-production and –consumption of textile products arise. Together with growing population and fast fashion culture the share of solid textile waste in municipal waste is increasing. Focusing on post-consumer textile waste literature, this research explores the opportunities, obstacles and enablers or success factors associated with closed-loop textile business systems. Methodology: A systematic literature review was conducted in order to identify best practices and gaps from the existing body of knowledge related to closed-loop post-consumer textile waste initiatives over the last decade. Selected keywords namely: ‘cradle-to-cradle ‘, ‘circular* economy* ‘, ‘closed-loop* ‘, ‘end-of-life* ‘, ‘reverse* logistic* ‘, ‘take-back* ‘, ‘remanufacture* ‘, ‘upcycle* ‘ with the combination of (and) ‘fashion* ‘, ‘garment* ‘, ‘textile* ‘, ‘apparel* ‘, clothing* ‘ were used and the time frame of the review was set between 2005 to 2017. In order to obtain a broad coverage, Web of Knowledge and Science Direct databases were used, and peer-reviewed journal articles were chosen. The keyword search identified 299 number of papers which was further refined into 54 relevant papers that form the basis of the in-depth thematic analysis. Preliminary findings: A key finding was that the existing literature is predominantly conceptual rather than applied or empirical work. Moreover, the enablers or success factors, obstacles and opportunities to implement closed-loop systems in the textile industry were not clearly articulated and the following considerations were also largely overlooked in the literature. While the circular economy suggests multiple cycles of discarded products, components or materials, most research has to date tended to focus on a single cycle. Thus the calculations of environmental and economic benefits of closed-loop systems are limited to one cycle which does not adequately explore the feasibility or potential benefits of multiple cycles. Additionally, the time period textile products spend between point of sale, and end-of-use/end-of-life return is a crucial factor. Despite past efforts to study closed-loop textile systems a clear gap in the literature is the lack of a clear evaluation framework which enables manufacturers to clarify the reusability potential of textile products through consideration of indicators related too: quality, design, lifetime, length of time between manufacture and product return, volume of collected disposed products, material properties, and brand segment considerations (e.g. fast fashion versus luxury brands).

Keywords: circular fashion, closed loop business, product service systems, solid textile waste elimination

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Authors: A. Hira Masood, B. Umer Hameed, C. Ezza Nasir

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Contemporary studies support the strong co-relation between psychology and design. This study elaborates how different psychological personality test can help a fashion designer to judge the needs of their clients with respect to have products which will satisfy the client's request concerning costumised clothing. This study will also help the designer to improve the lacking in the personality and will enable him to put his effort in required areas for grooming the customer, control and direct organization regarding quality maintenance. The use of psychology test to support the choice of certain design strategies that how the right clothing can make client a better intellectual with enhanced self-esteem and confidence. Different projective personality test are being used to suggest to evaluate personality traits. The Rorschach Inkblot Test is projective mental comprising of 10 ink-blots synonymous with the clinical brain research. Lüsher Color Diagnostics measures a person’s psycho physical state, his or her ability to withstand stress to perform and communicate. HTP is a projective responsibility test measuring self-perception, attitudes. The TAT test intend to evaluate a person’s patterns of thoughts, attitudes, observation, capacity and emotional response to this ambiguous test materials. No doubt designers are already crucially redesigning the individuals by their attires, but to expose the behavioral mechanism of the customer, designers should be able to recognize the hidden complexity behind his client by using the above mentioned methods. The study positively finds the design and psychology need to become substantially contacted in order to create a new regime of norms to groom a personality under the concentration and services of a fashion designer in terms of clothing, This interactive activity altimately upgrade design team to help customers to find the suited way to satisfy their needs and wishes, offer client relible relationship and quality management services, and to become more disereable.

Keywords: projective personality tests, customized clothing, Rorschach Inkblot test, TAT, HTP, Lüsher color diagnostics, quality management services

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Authors: Lama Ajinah

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Luxury brands witnessed continuous growth which followed women’s desire towards individual distinctiveness and social glare. Bags are a woman’s best friend either for aesthetic or functional purposes when she leaves her home for leisure or work. One way of women constant aspiration for being distinguished while reflecting their wealth is through handbags. Subsequently, the demand and attraction by consumers towards the dazzle of luxurious brands for personal pleasure and social status have flourished. According to the literature review, a visual analysis on luxury brands has been explored yet a focus on bags was not discussed in details. Hence, a deep analysis will be dedicated on the two segments by showcasing examples of high-end bag advertising. The research is conducted to understand advertising strategies used in promoting for luxurious products. Furthermore, the paper explores the definition of the term luxury, the condition in which it is used in, and the visual language used along with the term. As luxury is an indicator of superior satisfaction, it is obtained on two levels: a personal and a social level. The examples of luxury brand ads are selected from the last five years to uncover the latest, most common strategies used to promote for luxurious brands. The methods employed in this paper consist of literature review, semiotic analysis, and content analysis. The researcher concludes with revealing the methods used in advertising while categorizing them into various themes.

Keywords: advertising, brands, fashion, graphic design, luxury, semiotic analysis, semiology, visual analysis, visual communication

Procedia PDF Downloads 244

Authors: Banu Hatice Gürcüm, Pınar Arslan, Mahmut Yalçın

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Fashion designers create lots of dresses, suits, shoes, and other clothing and accessories, which are purchased every year by consumers. Fashion trends, sketches of designs, accessories affect the apparel goods, but colors make the finishing touches to an outfit. In all fields of apparel men's, women's, and children's wear, including casual wear, suits, sportswear, formal wear, outerwear, maternity, and intimate apparel, color sells. Thus, specialization in color in apparel is a basic concern each season. The perception of color is the key to sales for every sector in textile business. Mechanism of color perception, cognition in brain and color emotion are unique subjects, which scientists have been investigating for many years. The parameters of color may not be corresponding to visual scales since human emotions induced by color are completely subjective. However, with a very few exception each manufacturer concern their top selling colors for each season through seasonal sales reports of apparel companies. This paper examines sensory and instrumental methods for quantifying color of fabrics and investigates the relationship between fabric color and sale numbers. 5 top selling colors for each season from 10 leading apparel companies in the same segment are taken. The compilation is based according to the sales of the companies for 5 to 10 years. The research’s main concern is the corelation with the magnitude of seasonal color selling figures and the CIE chromaticity coordinates. The colors are chosen from the globally accepted Pantone Textile Color System and the three-dimentional measurement system CIE L*a*b* (CIELAB) is used, L* representing the degree of lightness of color, a* the degree of color ranging from magenta to green, and b* the degree of color ranging from blue to yellow. The objective of this paper is to demonstrate the feasibility of relating color perceptance to a laboratory instrument yielding measurements in the CIELAB system. Our approach is to obtain a total of a hundred reference fabrics to be measured on a laboratory spectrophotometer calibrated to the CIELAB color system. Relationships between the CIE tristimulus (X, Y, Z) and CIELAB (L*, a*, b*) are examined and are reported herein.

Keywords: CIELAB, CIE tristimulus, color preference, fashion

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Authors: Y. N. Fung, R. Liu, T. M. Choi

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Over the past decades, previous studies have explored different consumers’ attitudes towards sustainable fashion and how these attitudes affect consumer behaviors. Researchers have attempted to provide solutions for product suppliers (e.g., retailers, designers, developers, and manufacturers) through studying consumers’ attitudes towards sustainable fashion. However, based on the studies of consumer attitudes, investigations on the sales and market share of sustainable sportswear products remain under-explored. Gaps may exist between the consumers’ expectations and the developed sustainable sportswear products. In this study, a novel study has been carried out to examine the attitude gaps existing between the sustainable sportswear suppliers’ (SSSs) and the sustainable sportswear consumers (SSCs). This study firstly identifies the key attitudes towards sustainable sportswear product development. It analyses how sustainable attitudes affect the products being developed, as well as the effects of the attitude’s difference between the SSSs and the SSCs on the consumers’ satisfaction towards sportswear product consumption. A gap analysis research framework is adopted with the use of collected questionnaire survey data. The results indicate that a significant difference exists between SSSs and SSCs’ attitudes towards sustainable design, manufacture, product features, and branding. Based on in-depth interviews, the major causes of the difference in attitudes are studied to provide managerial insights for sustainable sportswear product management and business development.

Keywords: sustainability, sportswear, attitude, gap analysis, suppliers, consumers

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Authors: Inês Boticas, Diana P. Ferreira, Ana Eusébio, Carlos Silva, Pedro Magalhães, Ricardo Silva, Raul Fangueiro

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Since the beginning of the 20^th century, sportswear has a major contribution to the impact of fashion on our lives. Nowadays, the embracing of sportswear fashion/looks is undoubtedly noticeable, as the modern consumer searches for high comfort and linear aesthetics for its clothes. This compromise lead to the arise of the athleisure trend. Athleisure surges as a new style area that combines both wearability and fashion sense, differentiated from the archetypal sportswear, usually associated to “gym clothes”. Additionally, the possibility to functionalize and implement new technologies have shifted and progressively empowers the connection between the concepts of physical activities practice and well-being, allowing clothing to be more interactive and responsive with its surroundings. In this study, a design inspired in retro and urban lifestyle was envisioned, engineering textile structures that can respond to external stimuli. These structures are enhanced to be responsive to heat, water vapor and humidity, integrating shape memory polymers (SMP) to improve the breathability and heat-responsive behavior of the textiles and zinc oxide nanoparticles (ZnO NPs) to heighten the surface hydrophobic properties. The best results for hydrophobic exhibited superhydrophobic behavior with water contact angle (WAC) of more than 150 degrees. For the breathability and heat-response properties, SMP-coated samples showed an increase in water vapour permeability values of about 50% when compared with non SMP-coated samples. These innovative technological approaches were endorsed to design innovative clothing, in line with circular economy and eco-design principles, by assigning a substantial degree of mutability and versatility to the clothing. The development of a coat and shirt, in which different parts can be purchased separately to create multiple products, aims to combine the technicality of both the fabrics used and the making of the garments. This concept translates itself into a real constructive mechanism through the symbiosis of high-tech functionalities and the timeless design that follows the athleisure aesthetics.

Keywords: breathability, sportswear and casual clothing, sustainable design, superhydrophobicity

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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: Grzegorz Kubinski

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In the proposed paper, we would like to present the phenomenon of disease and disability as an element of discourse redefining the contemporary canons of beauty and the category of normativity. In widely understood media, and above all in social media and fashion industry, the use of the disease as an aesthetic category has long been observed. There is an interesting case of promoting and maintaining a certain, ideal pattern of physical beauty, while at the same time very clear exploitation of various types of illnesses. The categories of disease and disabled body are shown as an element of the expression of the individuality and originality of one's own identity, while at the same time the disabled person is still experiencing social exclusion. Illness or body abnormality as an aesthetic category also functions as an ethical-political category. The analysis of the interrelations of these discourses will be presented on the example of selected projects present in social media, like Instagram or Facebook. We would like to present how old forms of 'curiosities' or 'abnormalities' turned into mainstream forms of a new aesthetic. For marginalized disabled people, there is a new form of expression and built their identity. But, there is an interesting point: are this contemporary forms of using disability and illness really new? Or maybe this is just another form of Wunderkammer or even cabinets of curiosities? We propose to analyze contemporary cultural and social context in order to clarify this issue. On the other hand, we would like to present some examples from personal interviews with disabled internet influencers and statements disabled persons concerning the role of the different body in society (e.g. #bodypositive, #perfeclyflawed).

Keywords: disability, new media, defect, fashion

Procedia PDF Downloads 188

Authors: Urip Wahyuningsih, Indarti, Yuhri Inang Prihatina

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The current development of batik art has given rise to various batik industries. The emergence of the batik industry is in order to meet the needs of the increasing share of the batik fashion market. This gives rise to competitiveness between the batik industry to compete for a share of the existing batik clothing market. Conditions like this also occur in Klampar Pamekasan Maduira Village, as one of the Batik Tourism Villages in Indonesia, it must continue to improve by trying to maintain the characteristics of Klampar Pamekasan Madura batik fashion and must also always innovate so that it remains highly competitive so that it remains one of the places popular batik tourist destination. Ready-to-wear or ready-to-wear clothing is clothing that is mass produced and produced in various sizes and colors, which can be purchased directly and worn easily. Patterned batik cloth is basically batik cloth that has the pattern lines of the clothing parts arranged efficiently, so there is no need to bother designing the pattern layout of the clothing parts on the batik cloth to be cut. Quilting can be defined as the art of combining fabric materials of certain sizes and cuts to form unique motifs. Based on several things above, breakthrough production innovation is needed without abandoning the characteristic of Klampar Pamekasan Madura Batik as one of the Batik Tourism Villages in Indonesia. One innovation that can be done is creating ready-to-wear patterned batik clothing products using a quilting technique. The method used in this research is the Double Diamond Design Process method. This method is divided into 4 phases namely, discover (namely the stage of designing the theme of the ready-to-wear patterned batik fashion innovation concept using quilting techniques in the Batik Village, Klampar Village, Pamekasasan, Madura), define (determine the design summary and present challenges to the design), develop ( presents prototypes developed, tested, reviewed and refined) and deliver (selected designs are produced, pass final tests and are ready to be commercialized). The research produces patterned batik products that are ready to wear with quilting techniques that are validated by experts and accepted by the public.

Keywords: competitiveness, ready to wear, innovation, quilting, klampar batik vllage

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Authors: E. Elhan Özus, Melek Tufan, Filiz Erden

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Cloth is a special wearing style of a society for a period or of a profession. Clothes reflect the social status difference than the fashion. Within this context, society forms a wearing style in the direction of its customs, usage, traditions and social structure. One of the properties of a society indicating the social levels and cultural differences differing the societies from each other is clothing style. Clothing is one of the most important needs in life depending on the individual and social attributes. The clothing which first emerged as protection means is a social fact complementing the physical and psychological existence of human being, changing forms depending on technological developments and phases, and continuously changing under the affect of fashion today. Clothing is an aesthetic value fed by the feelings of individuals. So, clothing has an indispensable place in the structure and communication of cultural and social identity within this direction. The traditional Turkish clothing has a rich ethnography. It is also possible to see the winds coming from our predecessors in these cultural assets reflecting the feelings and thoughts of Anatolian women. When the long history of our nation and the cultures interacted by our nation are taken into account, it is seen that the magnificence of our nation has also reflected into the clothing culture.For this reason, we tried to keep the traditional women’s clothing of Tekirdağ region alive by investigating and documenting them. In this study, it is purposed to contribute a little bit to protect our culture and form a source for the future generations, to carry our national cultural values from the past up to now and to the future and deliver to the young people.

Keywords: Turkish, traditional, culture, clothing

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Authors: Mai Anh Pham Ho

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Scarf products today is a symbol of fashion to decorate, to make our life more beautiful and bring new features to our living space. It also shows the cultural identity by using the traditional patterns that make easily to introduce the image of Vietnam to other nations all over the world. Therefore, the purpose of this research is to classify Vietnamese traditional patterns according to the era and dynasties. Vietnamese traditional patterns through the dynasties of Vietnamese history are done and classified by five groups of patterns including the geometric patterns, the natural patterns, the animal patterns, the floral patterns, and the character patterns in the Prehistoric times, the Bronze and Iron age, the Chinese domination, the Ngo-Dinh-TienLe-Ly-Tran-Ho dynasty, and the LeSo-Mac-LeTrinh-TaySon-Nguyen dynasty. Besides, there are some special kinds of Vietnamese traditional patterns like buffalo, lotus, bronze-drum, Phuc Loc Tho character, and so on. Extensive research was conducted for modernizing scarf collection applied Vietnamese traditional patterns which the fashion trend is used on creating works. The concept, target, image map, lifestyle map, motif, colours, arrangement and completion of patterns on scarf were set up. The scarf collection is designed and developed by the Adobe Illustrator program with three colour ways for each scarf. Upon completion of the research, digital printing technology is chosen for using on scarf collection which Vietnamese traditional patterns were researched deeply and widely with the purpose of establishment the basic background for Vietnamese culture in order to identify Vietnamese national personality as well as establish and preserve the cultural heritage.

Keywords: scarf collection, Vietnamese traditional patterns, printing methods, fabric design

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Authors: Ananya Mitra Pramanik, Anjali Agrawal

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The objective of this paper is to trace the origin and evolution of clothing in the Indian Subcontinent. The paper seeks to understand the need for mankind to shed his natural state and adopt clothing as an inseparable accessory for his body. It explores the various theories of the origin of clothing. The known journey of clothing of this region started from the Indus Valley Civilisation which dates back to 2500 BC. Due to the weather conditions of the region, few actual samples have survived, and most of the knowledge of textiles is derived from the sculptures and other remains from this era. The understanding of textiles of the period after the Indus Valley Civilisation (2500-1500 BC) till the Mauryan and the Sunga Period (321-72 BC) comes from literary sources, e.g., Vedas, Smritis, the eminent Indian epics of the Ramayana and the Mahabharata, forest books, etc. Textile production was one of the most important economic activities of this region. It was next only to agriculture. While attempting to trace the history of clothing the paper draws the evolution of Indian traditional fashion through the change of rulers of this region and the development of the modern Indian traditional dress, i.e., sari, salwar kamiz, dhoti, etc. The major aims of the study are to define the different time periods chronologically and to inspect the major changes in textile fashion, manufacturing, and materials that took place. This study is based on secondary research. It is founded on data taken primarily from books and journals. Not much of visuals are added in the paper as actual fabric references are near nonexistent. It gives a brief history of the ancient textiles of India from the time frame of 2500 BC-8th C AD.

Keywords: evolution, history, origin, textiles

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Authors: Damayanthie Eluwawalage

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Historically, the color-coded attire demarcated differences, for example, differences in social position and differences in gender, etc. Distinctive colors are worn by different classes in medieval England. By the twentieth-century Western society, certain colors were firmly associated with the specific gender; as pink for girls, and blue for boys. The color-coded gender phenomenon was a novelty at the turn of the twentieth-century and became widely practiced after World War II. Prior to that era, there were no distinctions or differences in the dress of younger children, in relation to their gender. In the nineteenth century, pink suits were highly acceptable for gentlemen’s attire. Frenchmen in the eighteenth-century wore colors with an infinite range of hues like pink, plum, white, cream, blue, yellow, puce and sea green. Nineteenth-century European male austerity, primarily caused by the usage of sombre colors such as black, white and grey, has been described as an element for dignity, control and morality. In the nineteenth century, there were many color-associated distinctions, as certain colors were reserved for the unmarried, the single or the aged. Two luminous colors in one dress was ‘vulgar’ and yellow was generally regarded as unladylike. Yellow was the color utilised for most correctional attire. Orange was prohibited for the unmarried. Fashionable dressing in the nineteenth century was more gender-differentiated than in previous centuries. Masculine austerity, emphasized a shift in class relations. As a result of that shift, male attire became more uniform, homogeneous and integrated (amongst the classes), than its traditional hierarchal approach.

Keywords: textiles, fashion, gender symbolism, color

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