Academic literature on the topic 'DESIGN / Fashion'

Purpose:The purpose of this thesis has been to study, describe and analyze how luxury fashion brands have responded to fast fashion. Background:It has been stated that the life of luxury fashion brands has become more difficult since the proliferation of fast fashion brands. The Italian luxury fashion designer Giorgio Armani has said that &quot;Fast fashion is a growing reality in our sector&quot;. Anna Wintour, the editor-in-chief of American Vogue has credited Zara for creating a ‘seasonless cycle for fashion’. Fast fashion brands such as H&amp;M, Zara, Mango and Topshop have through interpreting catwalk trends with a speedy time-to-market been extremely successful at attracting the fashion conscious consumer. Even loyal high-end customers have started to mix their luxury fashion with fast fashion. Luxury fashion brands once dismissed the fast fashion brands as irrelevant to their high-end business, which however have started to drain away sales from the luxury fashion brands.Method:A qualitative research approach was taken to meet the purpose of collecting the relevant data. An interview was made with PR and Marketing Manager at Group 88, Robert Meeder who manages brands such as Gucci, Burberry and Bottega Veneta in Copenhagen. We also did a content analysis on articles collected that address the issue of how different luxury fashion brands have responded to fast fashion for the empirical study.Conclusion:Luxury fashion brands have responded to fast fashion by inclining towards the fast fashion model or reacting against it. Some of the reactions have been to offer lower priced lines under their own sub-brands. They have also allowed their customers to buy products during online webcasts in order to ensure early deliveries. Improvements have been made within logistics in order to speed up the time-to-market. The luxury fashion brands are also working more ‘seasonless’ than before and focusing on their heritage to portray a slower and more indulgent image to the consumer.<br>Program: Magisterutbildning i Fashion Management

In recent years Fair Trade’s People Tree has succeeded within the fashion industry by making ecological and ethical products fashionable, and subsequently fostering concern about ecological and ethical issues among consumers.There are two choices in our future when we buy clothes: we can buy ecological products to reduce the ecological foot print, -or we can reuse what we have now.In this thesis I take a close look at reuse of second-hand remade products.<br>Program: Magisterutbildning i Applied Textile Management

The fashion industry is today a global industry and has huge effect on our environment as well as on people. It is dominated by fast fashion and just-in-time production that has lead to increased seasons and mini-collections in season, which generate new low price items in store every week and even every day. This in turn has lead to an escalation in fashion trends that spris our desires for new experiences and leads to overconsumption where consumers buy more than they need, which in the end results in fashion waste.<br>Program: Magisterutbildning i Applied Textile Management

Jorge Luis Chávez Marroquín (Perú) - Expositor<br>En este seminario se mostrará el proceso de diseño de la moda de manera digital, utilizando el software CLO3D desde el dibujo de patrones hasta la visualización fotorrealista.

In his book, Whatever, Michel Houellebeque wrote: “I observe right away that people generally go around in bands, or in little groups --- Next I notice that all these people seem satisfied with themselves and the world; it's astonishing, even a little frightening. They quietly saunter around, this one displaying a quizzical smile, that one a moronic look. Some of the youngsters are dressed in leather jackets with slogans borrowed from the more primitive kind of hard rock; you can read phrases on their backs like Kill them all!or Fuck and destroy!; but all commune in the certainty of passing an agreeable afternoon devoted primarily to consumerism, and thus to contributing to the consolidation of their being.”i The quote illustrates the condition of our current time where culture and meaning has been negated by the process of consumption. From the quote we can clearly see ambivalence towards identity. Houellebecq's book has captured perfectly the pervasive emptiness of human life. Fashion has always been a mirror of the society, and what does it says about our society today when fashion has turned so banal that it is almost impossible to tell one from another. What does it say about our society when people's identity changes as the season changes with exponential acelleration. The idea of this project is to create a critical commentary on how the fashion world and the world in general has changed. During the last decades, fashion changes so fast, seasons come and go and the old Spring/Summer, Fall/Winter collections are not enough anymore. Now we have Resort and Pre-Fall as an addition to the original instalment. Customers expect new goods at least every month if not every week. Trends changes so fast to the point if you observed a fashionista she will look schizophrenic because of how often she changes her persona. Fashion has ceased to become creative or critical. The pressure on commercialism has led the industry into a machine with no substance geared to churn up more products with little regards to creativity, sustainability and the environment. The direction this change is going is frankly alarming, yet, with all the rigid system and the pressure on commercialism there is only so much that one can do. Referring to Michel Houellebeqc and his book Whateverii, with this project I'm trying to bring more awareness to the state of our time. iMichel Houellebeqc, Paul Hammond (translator), Whatever, Serpent's Tail, London,1998 iiMichel Houellebeqc, Paul Hammond (translator), Whatever, Serpent's Tail, London,1998

After years of domination of fashion capitals as Paris, Milan, London and New York the city of Antwerp is currently well-recognized as a fashion city. The impact of the rise of well-known designers and fashion institutes played a crucial role on the regeneration of the city, tourism and employability. Fashion design had an important cultural value in the construction of collective and individual identities, the image of a nation, region, city or heritage value. From a first overview of the concept of creative industries it will be researched the relation of these industries with the urban environment and the public policies. In the specific, the creative industry of fashion design will be related to the city of Antwerp urban environment and the process of branding it as a “fashion city”. After an outline of Antwerp fashion design history and evolution, will be highlighted the role of the principal private and public institution, form the 80s ITCB to the recent activity of FFI, in the process of capitalization and incorporation of this specific creative industry in the public agenda. The final consideration will be about the real extend to which is possible to plan a creative city and how far a creative hub is the result of deliberate action or autonomous emerging processes.

In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing. There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research. In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities. The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’. The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.