Search results for: fashion identity

Authors: Anupreet B. Dugal, Suruchi Mittar

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

Keywords: fashion, identity, sikh identity, textiles

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Authors: Ranis Cheng

Abstract:

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

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

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Authors: Kateryna Pilyarchuk

Abstract:

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

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

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Authors: Priya Sharma

Abstract:

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: Nihan Akdemir

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

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

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Authors: Nihan Akdemir

Abstract:

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

Keywords: fashion, gender identity, gender stereotypes, trend

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Authors: 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: Lily Ye

Abstract:

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

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

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Authors: Zhe Ginnie Wang

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Recent cultural design studies have begun to shed light on the discussion of Western-Eastern cultural and aesthetic hybridization, especially in the field of fashion. With the unprecedented spread of cultural Chinese fashion design in the global fashion system, the under-identified ‘Guochao’ aesthetic that has emerged in the global market needs to be academically emphasized with a methodological approach looking at the Western-Eastern cultural hybridization present in fashion visualization. Through an in-depth and comprehensive investigation of a representative international-based Chinese designer, Angel Chen's fashion show 'Madam Qing', this paper provides a methodological approach on how a form of traditional culture can be effectively extracted and applied to modern design using the most effective techniques. The central approach examined in this study involves creating aesthetic revolutions by addressing Chinese cultural identity through re-creating and modernizing traditional Chinese culture in design.

Keywords: style modernization, Chinese culture, guochao, design identity, fashion show, Angel Chen

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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: 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: Nargis Ali

Abstract:

Since the modest fashion market is growing in the UK, there is still little understanding and more concerns found among researchers and marketers about Muslim consumers. Therefore, the present study is designed to explore critical factors influencing Muslim women’s intention to purchase clothing and to identify the differences in the purchase intention of ethnic minority groups in the UK. The conceptual framework is designed using the theory of planned behavior and social identity theory. In order to satisfy the research objectives, a structured online questionnaire was published on Facebook from 20 November to 21 March. As a result, 1087 usable questionnaires were received and used to assess the proposed model fit through structural equation modeling. Results revealed that social media does influence the purchase intention of Muslim women. Muslim women search for stylish clothes that provide comfort during summer while they prefer soft and subdued colors. Furthermore, religious knowledge and religious practice, and fashion uniqueness strongly influence their purchase intention, while hybrid identity is negatively related to the purchase intention of Muslim women. This research contributes to the literature linked to Muslim consumers at a time when the UK's large retailers were seeking to attract Muslim consumers through modestly designed outfits. Besides, it will be helpful to formulate or revise product and marketing strategies according to UK’s Muslim women’s tastes and needs.

Keywords: fashion uniqueness, hybrid identity, religiosity, social media, social identity theory, structural equation modeling, theory of planned behavior

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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: Utkarsh Goley

Abstract:

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: Leili Nekounazar

Abstract:

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

Keywords: censorship, fashion, Iran, soft war

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Authors: 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: Elizabeth Bourgeois

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During social distancing, fashion and self-expression have been pushed further into virtual environments. In VR spaces, identities can be curated easily, untethered from the necessities of life and work. Personal styles reach a wider audience and follow new rules. Digital platforms leave some, but not all, 'real world' clothing constraints behind. Virtual aesthetics are set by the user and the software. Gen Z is a native user, applying face filters on Instagram and Snapchat and styling outfits and skins in apps like Gacha Life, Roblox, and Fortnite. These games cultivate space for community and personal style. Loosely tied to human forms, each app has physical aesthetics, with clear vernacular dress defining it. There are ecosystems of makers, consumers, and critics. Designer-modelers create original assets, brands, and luxury items. Fashion and beauty are ephemeral but always reflect the idealization of form and self. Online communities have already established new beauty ideals that impact live fashion trends. Fashion houses develop AR filters, gaming hairstyles challenge real-world colorists, and musicians perform virtual concerts in their avatar forms. In these times, social media and gaming communities promote the expression of public identity. The online dress is no longer tied to 'real' bodies or cloth. In virtual worlds, there are still tribes, status symbols, gender identities, and roles, but free of fabric, form, and static social structure, there is room for fantastic invention.

Keywords: virtual reality, fashion, Gen Z, social media, gaming

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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: 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: Cazadira Fediva Tamzil, Agung Sulthonaulia Utama

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The rise in popularity of Indonesian Islamic fashion displayed and sold through social networking sites, especially Instagram, might seem at first glance like a commonplace and localized phenomenon. However, when analyzed critically, it actually reveals the relations between the global and local Indonesian economy, as well as a deep socio-anthropological dimension relating to religion, culture, class, work, identity. Conducted using a qualitative methodology, data collection technique of literature review, and observation of various social networking sites, this research finds four things that lead to the aforementioned conclusion. First, the rise of online Islamic fashion retailers was triggered by the shift in the structure of global and national Indonesian economy as well as the free access of information made possible by democratization in Indonesia and worldwide advances in terms of technology. All of those factors combined together gave birth to a large amount of middle-class Indonesians with high consumer culture and entrepreneurial flair. Second, online Islamic fashion retailers are the new cultural trendsetters in society. All these show how Indonesians are becoming increasingly pious, no longer only adhere to Western conception of luxury and that many are increasingly exploiting Islam commercial and status-acquiring purposes. Third, the online Islamic fashion retailers actually reveal a shift in the conception of ‘work’ – social media has made work no longer only confined to the toiling activities inside factories, but instead something that can be done from any location only through posting online words or pictures that can increase a fashion product’s capital value. Without realizing it, many celebrities and online retailers who promote Islamic fashion through social media on a daily basis are now also ‘semi-free immaterial labors’ – a slight reconceptualization to Tiziana Terranova’s concept of ‘free labor’ and Maurizio Lazzarato’s ‘immaterial labor’, which basically refer to people who create economic value and thus help out capitals from producing immaterial things with only little compensation in return. Fourth, this research also shows that the diversity of Islamic fashion styles being sold on Instagram reflects the polarized identity of Islam in Indonesia. In stark contrast with the theory which states that globalization always leads to the strengthening and unification of identity, this research shows how polarized the Islamic identity in Indonesia really is – even in the face of globalization.

Keywords: global economy, Indonesian online Islamic fashion, political relations, socio-anthropology

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Authors: Galina Mihaleva, C. Koh

Abstract:

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

Abstract:

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: Amira Yousef Mahrous Yousef

Abstract:

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. 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 .

Keywords: inclusions, temperature gradient, HPHT synthetic fibers, polyamide fibers, fiber volume, compressive strength. gold nano clusters, copper ions, wool keratin, fluorescence

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Authors: Felib Ayman Shawky Salem

Abstract:

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. 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

Keywords: diamond, inclusions, temperature gradient, HPHT synthetic fibers, polyamide fibers, fiber volume, compressive strength. gold nano clusters, copper ions, wool keratin, fluorescence

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Authors: Lam Hong Lan

Abstract:

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: Utkarsh Goley

Abstract:

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: Jin Lam, Joe Au

Abstract:

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

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

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Authors: Akshata Patel, Reenu Singh

Abstract:

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

Abstract:

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

Procedia PDF Downloads 296