Search results for: circular fashion

Authors: Avani Chhajlani

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Fashion is considered to be the most destructive industry, second only to the oil rigging industry, which has a greater impact on the environment. While fashion today banks upon fast fashion to generate a higher turnover of designs and patterns in apparel and related accessories, crafts push us towards a more slow and thoughtful approach with culturally identifiably unique work and slow community-centered production. Despite this strong link between indigenous crafts and sustainability, it has not been extensively researched and explored upon. In the forthcoming years, the fashion industry will have to reinvent itself to move towards a more holistic and sustainable circular model to balance the harm already caused. And closed loops of the circular economy will help the integration of indigenous craft knowledge, which is regenerative. Though sustainability and crafts of a region go hand-in-hand, the craft still have to find its standing in the mainstream fashion world; craft practices have a strong local congruence and knowledge that has been passed down generation-to-generation through oration or written materials. This paper aims to explore ways a circular economy can be created by amalgamating fashion and craft while creating a sustainable business model and how this is slowly being created today through brands like – RaasLeela, Pero, and KaSha, to name a few.

Keywords: circular economy, fashion, India, indigenous crafts, slow fashion, sustainability, up-cycling

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Authors: Saurav Sharma, Deepshikha Sharma, Pratibha Sharma

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This paper includes fast fashion verses sustainable fashion or slow fashion Indian based consumers. The expression ‘Fast fashion’ is generally referred to low-cost clothing collections that considered first hand copy of luxury brands, sometime interchangeably used with ‘mass fashion’. Whereas slow fashion or limited fashion which are consider to be more organic or eco-friendly. "Sustainable fashion is ethical fashion and here the consumer is just not design conscious but also social-environment conscious". Paper will deal with desire of young Indian consumer towards such luxury brands present in India, and their understanding of sustainable fashion, how to maintain the equilibrium between never newer fashion, style, and fashion sustainability.

Keywords: fast fashion, sustainable fashion, sustainability, India

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Authors: WenYing Claire Shih, Konstantinos Agrafiotis

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The circular economy has become one of the seven fundamental pillars of Taiwan’s economic development, as this is promulgated by the government. The model of the circular economy, with its fundamental premise of waste elimination, can transform the textile and clothing sectors from major pollutant industries to a much cleaner alternative for a better quality of all citizens’ lives. In a related vein, the notion of the creative economy and more specifically the fashion industry can prompt similar results in terms of jobs and wealth creation. The combining forces of the circular and creative economies and their beneficial output have resulted in the configuration of ethical urban networks which potentially may lead to sources of competitive advantage. All actors involved in the configuration of this urban ethical fashion network from public authorities to private enterprise can bring about positive changes in the urban setting. Preliminary results through action research show that this configuration is an attainable task in terms of circularity by reducing fabric waste produced from local textile mills and through innovative methods of design, production and retail around urban spaces where the network has managed to generate a stream of jobs and financial revenues for all participants. The municipal authorities as the facilitating platform have been of paramount importance in this public-private partnership. In the explorative pilot study conducted about a network of production, consumption in terms of circularity of fashion products, we have experienced a positive disposition. As the network will be fully functional by attracting more participant firms from the textile and clothing sectors, it can be beneficial to Taiwan’s soft power in the region and simultaneously elevate citizens’ awareness on circular methods of fashion production, consumption and disposal which can also lead to the betterment of urban lifestyle and may open export horizons for the firms.

Keywords: the circular economy, the creative economy, ethical urban networks, action research

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Authors: Shamini Dhana, G. Subrahmanya VRK Rao

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The fashion industry is advancing towards a mindset of zero waste, personalization, creativity, and circularity. The trend of upcycling clothing and materials into personalized fashion is being demanded by the next generation. There is a need for a digital tool to accelerate the process towards mass customization. Dhana’s D/Sphere fashion technology platform uses digital tools to accelerate upcycling. In essence, advanced fashion garments can be designed and developed via reuse, repurposing, recreating activities, and using existing fabric and circulating materials. The D/Sphere platform has the following objectives: to provide (1) An opportunity to develop modern fashion using existing, finished materials and clothing without chemicals or water consumption; (2) The potential for an everyday customer and designer to use the medium of fashion for creative expression; (3) A solution to address the global textile waste generated by pre- and post-consumer fashion; (4) A solution to reduce carbon emissions, water, and energy consumption with the participation of all stakeholders; (5) An opportunity for brands, manufacturers, retailers to work towards zero-waste designs and as an alternative revenue stream. Other benefits of this alternative approach include sustainability metrics, trend prediction, facilitation of disassembly and remanufacture deep learning, and hyperheuristics for high accuracy. A design tool for mass personalization and customization utilizing existing circulating materials and deadstock, targeted to fashion stakeholders will lower environmental costs, increase revenues through up to date upcycled apparel, produce less textile waste during the cut-sew-stitch process, and provide a real design solution for the end customer to be part of circular fashion. The broader impact of this technology will result in a different mindset to circular fashion, increase the value of the product through multiple life cycles, find alternatives towards zero waste, and reduce the textile waste that ends up in landfills. This technology platform will be of interest to brands and companies that have the responsibility to reduce their environmental impact and contribution to climate change as it pertains to the fashion and apparel industry. Today, over 70% of the $3 trillion fashion and apparel industry ends up in landfills. To this extent, the industry needs such alternative techniques to both address global textile waste as well as provide an opportunity to include all stakeholders and drive circular fashion with new personalized products. This type of modern systems thinking is currently being explored around the world by the private sector, organizations, research institutions, and governments. This technological innovation using digital tools has the potential to revolutionize the way we look at communication, capabilities, and collaborative opportunities amongst stakeholders in the development of new personalized and customized products, as well as its positive impacts on society, our environment, and global climate change.

Keywords: circular fashion, deep learning, digital technology platform, personalization

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Authors: Rojean Ghafariasar, Leili Nosrati

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The article introduces the categories and characteristics of cross-design, respectively, between industry and industry designers, artists, brands and brands, science, technology, and fashion. It focuses on the combination of technology and fashion cross-design methods, corresponding case studies on the combination of new technology fabrics, fashion design, smart devices, and also 3D printing technology, emphasizing the integration and application value of technology and fashion. The document also introduces design elements into fashion design through scientific and technological intelligence, promoting fashion innovation as well as research and development of new materials and functions, and incubates an ecosystem for the fashion industry through science and technology.

Keywords: fashion, design, industrial design, crossover design

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Authors: Upasna Bhandari, Indranil Saha, Deepak John Mathew

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The green fashion market is growing rapidly as eco-friendly consumers are willing to expand their organic lifestyle to include clothing. With an increasing share of fashion consumers globally, Indian consumers are observed to consider the social and environmental ethics while making purchasing decisions. While some research clearly identifies the efforts of responsible consumers towards green fashion, some argue that fashion-orientated consumers who are sensitive towards environment do not actively participate towards supporting green fashion. This study aims to analyze the current perception of green fashion among Indian consumers. A small-scale exploratory study is conducted where consumers’ perception of green fashion is examined followed by an analysis of translation of this perception into purchase decision making. This research paper gives insight into consumer awareness on green fashion and provides scope towards the expansion of ethical fashion consumption within the demography of India.

Keywords: consumer perception, environmental attitudes, fashion retailing, green fashion, sustainability

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Authors: Vaishali P. Joshi, Pallav Joshi

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The objective of this study is to examine the differences fashion innovators and non-fashion innovators in their fashion consumption behavior in terms of their pre-purchase behavior, purchase behavior and post purchase behavior. The questionnaire was distributed to a female college student for data collection for achieving the objective of the first part of the study. Question-related to fashion innovativeness and fashion consumption behavior was asked. The sample was comprised of 81 college females ages 18 through 30 who were attending Business Management degree. A series of attitude questions was used to categorize respondents on the Innovativeness Scale. 32 respondents with a score of 21 and above were designated as Fashion innovators and the remainder (49) as Non-fashion innovators. Findings showed that there exist significant differences between innovators and non-innovators in their fashion consumption behavior. Data was analyzed through frequency distribution table. Many differences were found in the behavior of innovators and non-innovators in terms of their pre-purchase, actual purchase, and post-purchase behavior.

Keywords: fashion, innovativeness, consumption behavior, purchase

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Authors: Mette Dalgaard Nielsen

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The paper serves the purpose of providing an eco-systemic typology of fashion resale business models in Denmark while pointing to possibilities to learn from its wisdom during a time when a fundamental break with the dominant linear fashion paradigm has become inevitable. As we transgress planetary boundaries and can no longer continue the unsustainable path of over-exploiting the Earth’s resources, the global fashion industry faces a tremendous need for change. One of the preferred answers to the fashion industry’s sustainability crises lies in the circular economy, which aims to maximize the utilization of resources by keeping garments in use for longer. Thus, in the context of fashion, resale business models that allow pre-owned garments to change hands with the purpose of being reused in continuous cycles are considered to be among the most efficient forms of circularity. Methodologies: The paper is based on empirical data from an ongoing project and a series of qualitative pilot studies that have been conducted on the Danish resale market over a 2-year time period from Fall 2021 to Fall 2023. The methodological framework is comprised of (n) ethnography and fieldwork in selected resale environments, as well as semi-structured interviews and a workshop with eight business partners from the Danish fashion and textiles industry. By focusing on the real-world circulation of pre-owned garments, which is enabled by the identified resale business models, the research lets go of simplistic hypotheses to the benefit of dynamic, vibrant and non-linear processes. As such, the paper contributes to the emerging research field of circular economy and fashion, which finds itself in a critical need to move from non-verified concepts and theories to empirical evidence. Findings: Based on the empirical data and anchored in the business partners, the paper analyses and presents five distinct resale business models with different product, service and design characteristics. These are 1) branded resale, 2) trade-in resale, 3) peer-2-peer resale, 4) resale boutiques and consignment shops and 5) resale shelf/square meter stores and flea markets. Together, the five business models represent a plurality of resale-promoting business model design elements that have been found to contribute to the circulation of pre-owned garments in various ways for different garments, users and businesses in Denmark. Hence, the provided typology points to the necessity of prioritizing several rather than single resale business model designs, services and initiatives for the resale market to help reconfigure the linear fashion model and create a circular-ish future. Conclusions: The article represents a twofold research ambition by 1) presenting an original, up-to-date eco-systemic typology of resale business models in Denmark and 2) using the typology and its eco-systemic traits as a tool to understand different business model design elements and possibilities to help fashion grow out of its linear growth model. By basing the typology on eco-systemic mechanisms and actual exemplars of resale business models, it becomes possible to envision the contours of a genuine alternative to business as usual that ultimately helps bend the linear fashion model towards circularity.

Keywords: circular business models, circular economy, fashion, resale, strategic design, sustainability

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Authors: Utkarsh Goley

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BDSM, or Bondage Discipline Sadism Masochism, is a controversial and often misunderstood practice that has had a presence in the fashion industry for decades. BDSM-inspired fashion can be seen in various forms, from leather harnesses and corsets to studded collars and latex clothing. BDSM fashion is often associated with edginess, rebellion, and sexuality. It has been embraced by subcultures such as punk, Goth, and fetish, as well as mainstream fashion designers looking to push boundaries and make a statement. However, the use of BDSM imagery in fashion has also been criticized for promoting objectification, exploitation, and the normalization of abusive behavior. Some argue that the fashion industry's depiction of BDSM often reinforces harmful stereotypes and misconceptions about the practice. Despite the controversy, BDSM-inspired fashion continues to have a place in the industry, with designers and consumers alike finding value in its aesthetic appeal and provocative nature. As with any aspect of fashion, the role of BDSM in the industry will continue to evolve and adapt to changing cultural norms and societal attitudes.

Keywords: BDSM, leather, fashion, lycra

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Authors: Rubab Ashiq, Bazaz Pinky

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Over the last decade, the emerging phenomenon of fashion blogging has altered the fashion landscape by providing new avenues of marketing to the fashion brands and designers. Given the growing popularity of this trend, there is a potential research scope within the developing fashion markets in South Asia as the majority of the previous studies have been centralized in the context of an established fashion industry. Therefore, the aim of this paper is to provide an insight on how these newly established marketplaces can benefit by incorporating fashion blogging as a marketing tool in a cross-cultural context. For this reason, the established fashion industry of UK and emerging fashion market of Pakistan was chosen to address the impact of cross-cultural differences on blogging based on the idea of individualism and collectivism. The study used a qualitative approach, using the semi-structured interviews with the fashion industry professionals including PR experts, fashion designers and fashion bloggers Additionally, a questionnaire was designed to gauge consumer’s perception of the blogging from the chosen fashion industries. It is established through the research findings that blogging has evolved from a trend to a strategic public relations and marketing tool in the established fashion industry, which is progressively growing its roots in the new emerging fashion markets. Furthermore, it is evaluated from the research that the cross-cultural differences have a positive impact on fashion blogging. Thus, this research paper serves as the guideline for the emerging fashion markets to incorporate fashion blogging as a marketing tool which can facilitate effective cross-cultural communication.

Keywords: blogging, digital marketing, cross-cultural, social media

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Authors: A. Bardey, P. James

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With the rise of fast-fashion, over consumerism and overproduction, the fashion industry is believed to be one of the most polluting industry. It is a matter of importance today to further understand the factors involved in green consumerism to enhance sustainable fashion. One of the critical issues in also evaluating green consumerism, particularly in fashion, is the attitude-behaviour gap. Indeed, many consumers report a positive attitude towards sustainable fashion consumerism, but this attitude is not always actioned into behaviour. This study aims to further investigate the attitude-behaviour gap in sustainable fashion consumerism. S triangulation of qualitative and quantitative methods was used. Focus groups were used to gain opinions and understanding of the barriers to sustainable fashion consumption. A quantitative online questionnaire was then used to quantify the barriers identified in Study 1 and measure their influence on the attitude-behaviour gap. The results suggest that knowledge about sustainable fashion is the key factor in the attitude-behaviour gap in sustainable fashion consumerism. Accessibility was also identified as a factor, but this relationship is more complex. It is suggested that knowledge is the main factor in the attitude-behaviour gap and that once knowledge is controlled for, accessibility will become a main factor. The present study is the first one to identify the factors involved in sustainable fashion consumerism.

Keywords: fashion, consumer behaviour, sustainable consumerism, attitude-behavioural gap

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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: Dina Mohamed Ahmed Mahmoud Bakr

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The concept of a circular economy is gaining increasing attention as a way to promote sustainable economic growth and reduce the environmental impact of human activities. The circular economy is a systemic approach that aims to keep materials and resources in use for as long as possible, minimize waste and pollution, and regenerate natural systems. The purpose of this article is to present a summary of the principles and tactics employed in the circular economy, along with examples of prosperous circular economy projects implemented in different sectors across Japan, Austria, the Netherlands, South Africa, Germany, and the United States. The paper concludes with a discussion of the challenges and opportunities associated with the transition to a circular economy and the policy interventions that can support this transition.

Keywords: circular economy, waste reduction, sustainable development, recycling

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Authors: A. N. Roslen, S. A. Syed-Sahil, A. Musavir

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In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers.

Keywords: art, fashion, inspiration, local artist

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Authors: M. Novak, J. Dufourmount, D. Wildi, A. Sutherland, L. Sosa, J. Zimmer, E. Szabo

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The circular economy has grounded itself amongst scholars and practitioners operating across governments and enterprises. The aim of this paper is to augment the circular economy concept by identifying common core and enabling circular business models. To this aim, we have analysed over 150 papers regarding circular activities and identified 8 clusters of business models and enablers. We have mapped and harmonised the most prominent frameworks conceptualising the circular economy. Our findings indicate that circular economy core business models include regenerative in addition to reduce, reuse and recycle activities. We further find enabling activities in design, digital technologies, knowledge development and sharing, multistakeholder collaborations, and extended corporate responsibility initiatives in various forms. We critically contrast the application of these business models across the European and African contexts. Overall, we find that seemingly varied circular economy definitions distill the same conceptual business models. We hope to contribute towards the coherence of the circular economy concept, and the continuous development of practical guidance to select and implement circular strategies.

Keywords: Circular economy, content analysis, business models, definitions, enablers, frameworks

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Authors: Galina Mihaleva, C. Koh

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Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. The methodology used is through surveying the various examples of technological applications to fashion design and drawing parallels between what was achievable then and what is achievable now. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine.

Keywords: fashion design, functional aesthetics, smart textiles, 3D printing

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Authors: Nessreen Elmelegy

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Fashion is all about being fun, stylish and looking beautiful in your own way, whether it is with clothes, accessories, hairstyles, and even furniture. There are never ending ways and sources when wanting to seek inspiration. Fashion designers can get inspired by anything and everything that encompasses them in their everyday lives. When getting inspired, there are no boundaries or limits to when it comes to exploring one's originality and fashion sense. All designers focus on being unique, original and trendy when taking inspiration and transforming that into fashionable and wearable garments. Ebru is a Turkish art. The actual word 'Ebru' in Turkish means marbling. Marbling is the art which help designers to create innovative and rich and colorful patterns in fashion designs. By using this technique we will have countless unique designs in fashion because each design can never be repeated. It is a traditional Turkish art which is designated as one of the Intangible Cultural Heritage of Humanity by UNESCO in 2014. Ebru art has spread from the East to the West by way of Silk Road and other trade routes. So this research is focused on studying the history and the techniques of Ebru art in fashion as an amazing trend of fashion, which is still stranger to the Egyptian Fashion industry; also how we can benefit from the incorporation of Ebru art as into the garments designs while still maintaining the functional and beauty purpose of the design.

Keywords: Ebru Art, Ebru techniques, fashion inspiration, fashion trends

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Authors: Priya Sharma

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

Keywords: fashion, gender, identity, feminism, environment

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Authors: Utkarsh Goley

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

Keywords: evolution, fashion, leather, sustainable

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Authors: A. Elmikaty, Z. Thanawarothon, L. Mezeix

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This paper presents a finite element model to simulate the teeth failure of non-circular composite chainring. Model consists of the chainring and a part of the chain. To reduce the size of the model, only the first 11 rollers are simulated. In order to validate the model, it is firstly applied to a circular aluminum chainring and evolution of the stress in the teeth is compared with the literature. Then, effect of the non-circular shape is studied through three different loading positions. Strength of non-circular composite chainring and failure scenario is investigated. Moreover, two composite lay-ups are proposed to observe the influence of the stacking. Results show that composite material can be used but the lay-up has a large influence on the strength. Finally, loading position does not have influence on the first composite failure that always occurs in the first tooth.

Keywords: CFRP, composite failure, FEA, non-circular chainring

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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: Akshata Patel, Reenu Singh

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

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

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Authors: Ana María Velasco Molpeceres

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

Keywords: fashion, Spain, magazines, women

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Authors: Chi-Ying Yu

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Fashion design is, in fact, an aesthetic inquiry of fabric, style and human body. In recent years, close cooperation between the artistic circles and the fashion world has even brought fashion into the arena of contemporary art. This study offers a case study on the avant-garde fashion designer Alexander McQueen, investigating how he and his brand translate fashion into contemporary art at various levels. Firstly, in terms of his designs themselves, McQueen demonstrates through fashions his declarations on political and gender issues, demonstrating his unique barbarian aesthetics and creating an enchanting sublimity. Secondly, McQueen extends his fashion aesthetics into a cross-disciplinary performing method, and raises catwalk shows to the level of complete artistic experience. Finally, and also most importantly, the brand has been producing fashion movies for its seasonal design series. By means of an abstract, non-narrative visual language, these films essentially transform people’s experience of clothing – from the senses to the pure visual. This is not simply a cross-media artistic practice, but much more fundamentally a discourse on contemporary perceptual experience. From the case of Alexander McQueen, it can be argued that avant-garde fashion has broken through the boundary between design and art, issuing its own art manifesto through the field of art or non-art.

Keywords: Alexander McQueen, avant-garde fashion, contemporary art, fashion film

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Authors: Basem Kamal Abasakhiroun Farag

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Fashion, like many other areas of design, has undergone numerous developments over the centuries. The aim of the article is to recognize and evaluate the importance of advanced technologies in fashion design and to examine how they are transforming the role of contemporary fashion designers by transforming the creative process. It also discusses how contemporary culture is involved in such developments and how it influences fashion design in terms of conceptualization and production. The methodology used is based on examining various examples of the use of technology in fashion design and drawing parallels between what was feasible then and what is feasible today. Comparison of case studies, examples of existing fashion designs and experiences with craft methods; We therefore observe patterns that help us predict the direction of future developments in this area. Discussing the technological elements in fashion design helps us understand the driving force behind the trend. The research presented in the article shows that there is a trend towards significantly increasing interest and progress in the field of fashion technology, leading to the emergence of hybrid artisanal methods. In summary, as fashion technologies advance, their role in clothing production is becoming increasingly important, extending far beyond the humble sewing machine.

Keywords: fashion, identity, such, textiles ambient intelligence, proximity sensors, shape memory materials, sound sensing garments, wearable technology bio textiles, fashion trends, nano textiles, new materials, smart textiles, techno textiles fashion design, functional aesthetics, 3D printing.

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Authors: Dana Lee, Young Chan Kim

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

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

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Authors: Vishaka Agarwal

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Fashion is a dynamic entity. With globalisation, fashion is being retailed out to every corner of the world, and people are becoming fashion aware and adapting to the latest trends and look. In this scenario, the role of fashion in providing social change in society is strong. Every product that we use has a design element in it, and consumers prefer to buy those products. The aim of the paper is to look at the ways in which social change can be brought into society through ethical designing by designers taking into consideration the IPR issues. Review of research done by earlier researchers in studying the work done by designers to achieve social change in the society and also discussions with designers to understand the future plans looking at changing world scenario would be done. The paper concludes that fashion has a dynamic role to play in achieving social change in society, and designers are virtually controlling what people buy, wear, and consume globally. This paper would be useful to the social planners and designers in planning the future of society.

Keywords: fashion designers, ethics, intellectual property right, society

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Authors: Vivian Orsi

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

Keywords: anglicism, lexicology, magazines, blogs, fashion

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Authors: Trinh Bui, A. Cappellieri

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The fashion industry has become one of the most polluting industries in the world. In this context, designers can contribute solutions to the problem by applying Design for Sustainability (DfS) criteria, which will enable to promote designing products and services toward Sustainability. Therefore, 'Slow Fashion' movement has been receiving the attention of researchers, designers, and customers who are sensitive to sustainable development. The purpose of this paper is to contribute to a better understanding of DfS in fashion. In particular, how can apply sustainable design principles to the fashion accessory in order to minimize the negative impact on the environment and society? The research method of this study is qualitative, utilising a multi-method case study approach. Grounded theory analysis was applied to analyse the data of the case studies collected and the results obtained. Also, research findings indicate that DfS applied to Fashion Accessory design processes might have great potential and win-win approaches toward a sustainable future. An important implication is that understanding the concepts and applying DfS to fashion accessory design processes can support designers to face challenges and seize opportunities. Furthermore, identify the key concept of sustainability and social responsibility could raise awareness on sustainable fashion for both producers and customers more effectively.

Keywords: design for sustainability, fashion accessory, sustainable fashion, sustainability

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Authors: Anupreet B. Dugal, Suruchi Mittar

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

Keywords: fashion, identity, sikh identity, textiles

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