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Nip, Kam-cheong, and 聶錦昌. "Fashion Design Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983625.
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Nip, Kam-cheong. "Fashion Design Centre." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954726.
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Minhas, Frida, and Mersiha Memic. "The fast fashion phenomenon : Luxury fashion brands responding to fast fashion." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20850.
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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 "Fast fashion is a growing reality in our sector". 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&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
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TANAKA, MICHIKO. "Sustainability in Fashion industry." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20152.
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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
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JOHANSSON, ELEONOR. "Slow fashion : the answer for a sustainable fashion industry?" Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20182.
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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
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Chávez, Marroquín Jorge Luis. "Digital fashion 3D design." Universidad Peruana de Ciencias Aplicadas (UPC), 2006. http://hdl.handle.net/10757/656734.
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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.
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LIDÉN, HELEN, and EMELIE GUSTAFSSON. "Fad Fashion : ur ett varumärkesperspektiv." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20129.
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Tanuwijaya, Karina. "Whatever : Critical Fashion." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45639.
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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
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Pappacoda, Laura <1987>. "Fashion Design in city requalification. Antwerp and its fashion hub." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4577.
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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.
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Malmgren, De Oliveira Stefanie. "On seeing : in fashion design." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-8656.
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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.
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Нгуєн, В'єт Нган. "3D Printer in Fashion Design." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7363.
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Wagner, Melissa, and Antonela Curteza. "Design evaluation of sustainable fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10401.
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Sustainable products can be found in existing and new fashion companies, using different design strategies based on trends such as circularity and fair trade. However, there is a gap in research between the product appearance of a sustainable fashion design and consumer perception referring to both consumer needs of ethical and fashionable. This study focuses on the needs and the perception of ethical fashion leaders for the design of sustainable garments. The paper suggests the usage of semantic differentiation for Kansei word pairs to evaluate the design. As a result, an application for linen fabric is discussed.
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Chávez, Marroquín Jorge Luis. "Workshop. Digital fashion 3D design." Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656734.
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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.
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Robinson, Joyce Robin. "Creativity in Fashion Design Students." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/406.
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AN ABSTRACT OF THE DISSERTATION OF Joyce Robin Robinson, for the Doctor of Philosophy degree in Workforce Education and Development, presented on June 27, 2011, at Southern Illinois University Carbondale. TITLE: CREATIVITY IN FASHION DESIGN STUDENTS MAJOR PROFESSOR: Dr. Beth W. Freeburg and Dr. Jane E. Workman The purpose of this study was to examine relationships among environmental influences, changes in domain specific knowledge, and changes in tolerance of ambiguity as well as changes in creativity of individuals majoring in fashion design at four-year universities. This study was based on the confluence theoretical approach which holds that multiple components must connect in order for creativity to occur. This was a quantitative study involving participants from multiple universities with four-year fashion design programs. The study used online surveys to gather data on attitudes, opinions and achievements. Dependent variables were creativity and tolerance of ambiguity. Independent variables included tolerance of ambiguity, family background, and demographic information. The findings revealed: (1) media such as art, music and literature were positively correlated with creativity; (2) parental encouragement was positively correlated with creativity; (3) electronic media, such as television, computers, and the internet were negatively correlated with creativity; (4) lessons (e.g., in sports, music, dance, cooking, or childcare) was negatively correlated with creativity; (5) available space to create, explore, and experiment was negatively correlated with creativity; (6) there was a positive correlation between creativity and tolerance of ambiguity. This information will contribute to the existing knowledge on creativity. Parents and Instructors may use this information to help develop and enhance creativity.
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Dunlop, Paula Louise. "Unravelling design : fashion, dressmaking, ethos." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/47518/1/Paula_Dunlop_Exegesis.pdf.
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Discourses on ethical fashion are usually geared toward finding solutions—or right outcomes—to ethical problems, based on a teleological model of design and a positioning of the designer as an autonomous and isolated design authority. This practice-led project argues, however, that considerations of design ethics must take into account not only the outcome of a design, but also the ongoing, lived experience of designing as a making located in pre-existing social, historical and cultural conditions. Through an exploration of my own dressmaking practice and a reading of ethos as location, I argue for two things: one, for the designer as a located entity rather than an autonomous "author", and, two, against design-asplan and the original design object, and for the circular and conditioned character of design. Through a connection to ethos, understandings of design ethics shift from an end object focus to something situated, and invested in, everyday lived experience—and always in the making.
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CHENG, JOHN PEIJON. "HOME FASHION: A CONCEPT OF CREATING HOME FURNISHING PRODUCTS USING FASHION THEORY AND DESIGN PROCESS." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1052937178.
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HENRY, HEATHER FRENCH. "SOCIALLY CONSCIOUS FASHION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990735146.
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EKBLAD, HELENA, and JOHANNA BLOM. "Returns Management : Within Fashion eCommerce." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20158.
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Eftersom dagens kund är krävande och medveten om vad hon eller han vill ha är det viktigare än någonsin att verkligen förstå vad kunden verkligen efterfrågar. Ett företags returhantering kan därför ha avgörande betydelse då det gäller att samla in rätt information ifrån kunden med målet att minska framtida returer. Ett företags sätt att arbeta med returhantering är avgörande, detta är speciellt sant för företag inom e-handeln. Dessa företag kommer alltid att ha en viss retur nivå eftersom deras kunder använder sina hem som provrum eftersom det är svårt för kunderna att veta om plagget kommer att passa och motsvara deras förväntningar. Det är dock viktigt att jobba för att ha en så låg returandel som möjligt, för att också kunna ha nöjda kunder. Målet är att vara proaktiv och undvika returer. Detta är något som bör göras både långsiktigt och kortsiktigt i hela försörjningskedjan. Kundförståelse spelar också en stor roll i returhanteringen. Rätt information ska samlas in från kunderna, så att företaget kan bilda sig en uppfattning om kundernas behov och önskningar. Genom att skapa returkoder som ger en mer exakt bild av returanledningen kan denna information sedan användas i produktutvecklingen med målet att minimera framtida returer. Hänsyn behöver också tas till andra områden när man arbetar med att undvika returer. Kunden behöver till exempel få en klar bild av vad han eller hon köper, därför är det viktigt att produkten beskrivs på ett tydligt och lättförståelig vis. Det är också viktigt att måttlistor och måttinstruktioner är lätta att förstå och relatera till, så att kunden får möjligheten att välja rätt storlek. När man arbetar på ett bra sätt inom alla dessa områden kan man nå en högre avkastning genom ökad lojalitet från kunder och färre returer.<br><p>As today’s customer is demanding and knows what he or she wants, it is more important than ever to really understand the customer’s true demand or need. A company’s returns management can therefore be crucial in order to gather the right information from the customer so that future returns can be minimized. A company’s work with returns management is very important, especially for companies within eCommerce. These types of companies will always have a certain level of returns, because the fact that the customers use their own homes as changing rooms. It is hard for the customer to know if the product will fit them and correspond to their expectations. It is although important to try to have as low return level as possible in order to have satisfied customers. The aim is to be proactive and avoid returns before they occur. This avoidance has to be considered both in short and long term ways within the whole supply chain.Consumer insight also plays an important role within returns management. It is here the right information should be collected from the customers in order to understand their wants and needs. By designing return codes that give a more precise picture of the return reason companies like Halens can use this information in the development process in order to minimize the risk for future returns.Also other areas within the business can be taken into consideration when working with returns avoidance. The customer needs to get a clear picture of what they actually are buying and therefore it is also important to describe the products in a clear and lucid way. It is also important to make measurement lists and instructions easy to understand and relate to, in order to give the customer the ability to choose the right size.When working efficiently within all these areas higher profit can be gained though increased customer loyalty and decreased returns.</p><p>Program: Magisterutbildning i Applied Textile Management</p>
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Miller, Meredith. "Fashion & Architecture." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439271.
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COSTA, CARLOS ALEXANDRE NUNES DA. "DIALOGUE BETWEEN FASHION STYLING AND FASHION DESIGN: CONNECTIONS, DIFFERENCES AND SIMILARITIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=23395@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Podemos entender a moda como um fenômeno que se constituiu historicamente no ocidente moderno e, ao longo do tempo, tornou-se um mecanismo indispensável às aparências e ao comportamento dos indivíduos no âmbito de nossa sociedade. Do ponto de vista econômico, sua indústria tem se desenvolvido graças aos avanços tecnológicos e as reformulações em suas estruturas de trabalho e de produção tornando-se hoje, inclusive no Brasil, um dos setores mais lucrativos e dinâmicos nas economias de países capitalistas. Esse desenvolvimento possibilitou o aparecimento de profissionais cada vez mais especializados, entre eles o designer de moda e o stylist. Esta dissertação propõe uma reflexão sobre a prática da atividade de Fashion Styling e de seu profissional stylist no Brasil e sua relação com o Design de Moda. Através de pesquisa de cunho qualitativo foram feitas entrevistas com designers de moda e stylists a fim de identificar possíveis conexões entre essas áreas e analisar as diferenças e similaridades entre a atuação prática desses profissionais.<br>We understand fashion as a phenomenon that has been historically constituted in the modern West and, over time, has become an indispensable mechanism of the production of appearances and behavior of individuals within our society. From an economic standpoint, the fashion industry has developed thanks to technological advances and reformulations in work structures and production becoming today, including in Brazil, one of the most profitable and dynamic sectors in the economies of capitalist countries. This development enabled the emergence of increasingly specialized professionals, among them the fashion designer and stylist. This thesis proposes a reflection on the practice activity of Fashion Styling and the professional stylist in Brazil and its relationship with Fashion Design. Through qualitative research interviews with fashion designers and stylists we sought to dentify possible connections between these areas and analyze the differences and similarities between the practical roles of these professionals.
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Kim, Hye Eun. "Designing fashion with Qi energy." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1687/.
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This practice-led research explores the significance of Qi energy for fashion by materialising the East Asian culturally-specific concept of Qi. Qi features prominently in the traditional philosophy of everyday life in East Asia and my research aims to show how this philosophy can also provide an understanding of the relationship between body, garment and making, which is new to more Western concepts of fashion culture. This reflective journey unravels fashion practice in this context, focusing on the making process and the methods that were developed during that process. I engaged in significant handwork in the field of contemporary womenswear, integrating concepts of the body and garment as a circulatory system for Qi energy. It is the objective of this research to realise garments which help the understanding of Qi as a communication tool in relationships that arise in fashion, namely those that exist between the material and the maker during the making process, the body and the garment, and the wearer and the viewer. My research question originates from a desire to find a way to materialise Qi in garments through the making process. To pursue this, I explore a range of fields including anthropology, material culture, psychoanalysis, literature, cultural theory, and language. Apart from contextual studies, I adopted conversations and filming as methods to develop my research further. In practice, I investigate the meridians (as seaming which constructs garments), the finishing and the openings of the garment, all of which amount to a transitional interface. I view this as a concrete way of injecting Qi energy into the garment on a material level. I have reflected deeply on my making experience; this reflection has led the entire process and also given me a much better understanding of body and garment. Through my making process, aimed at materialising Qi in the garment, I essentially tried to establish a better connection between body and garment. This thesis oscillates between practice and theory. My research suggests Qi energy as a new perspective on fashion making; it offers a new understanding of the body in fashion and tries to fill the gap between practice and theory through embodied knowledge.
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Finn, Angela L. "Fashion manufacturing in New Zealand : can design contribute to a sustainable fashion Industry?" Thesis, Auckland University of Technology, 2008. https://eprints.qut.edu.au/31512/1/c31512.pdf.
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In the late 1990s New Zealand fashion gained some international recognition for its dark edginess and intellectual connection due to its colonial past (Molloy, 2004). In the years since, this momentum seems to have dissipated as local fashion companies have followed a global trend towards inexpensive off shore manufacturing. The transfer of the making of garments to overseas workers appears to have resulted in a local fashion scene where many garments look the same in style, colour, cut and
fit. The excitement of the past, where the majority of fashion designers established their own individuality through the cut and shape of the garments that they produced, may have been inadvertently lost. Consequently a sustainable New Zealand fashion and manufacturing industry, with design integrity, seems further out of reach. The
first question posed by this research project is, ‘can the design and manufacture of a fashion garment, bearing in mind certain economic and practical restrictions at its
inception, result in the development of a distinctive ‘look’ or ‘handwriting’?’ Second,
through development of a collection of prototypes, can potential garments be created to be sustainably manufactured in New Zealand?
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Forssblad, Matilda. "Braveheart fashion wear : Dressing titles." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-22111.
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Fashion involves more than material garments. It is extended to the settings surrounding it. We wear and dress in more than clothes, we do it in scents and lights, in objects and images. Today, when fashion mostly is consumed in pictures - a representation of the physical garment - there is a need for a shifted view of what fashion design is and potentially can become. This work aims to explore and extend the domain of fashion by using text titles as a catalyst for creative activity and seek to move beyond traditional outlets of fashion. Each title becomes a project in itself. Together they form a collection of products in the widest sense that informs the logics of my practice and pose as a suggestion for an alternative approach to collection making as well as to what contemporary fashion design can incorporate.
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Klymenko, O. "Eccentric Decisions for the Fashion Design." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8475.
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Morley, Jane. "Conceptual fashion : design, practice and process." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/62703/1/Jane_Morley_Thesis.pdf.
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While Conceptual fashion design practices have been a pervasive influence in fashion since the early 1980s, there is little academic analysis that might explain how they are distinct from conventional fashion design practices. In addition, fashion practitioners have not historically contributed to fashion research. As a result, contemporary fashion practitioners have difficulty setting critical contexts and expanding their creative work as there is little relevant literature available from practitioner perspectives. This project uses practice-led research to develop a discourse for understanding Conceptual fashion design process and how it relates to more conventional fashion design practices. In this exegesis I use Conceptual art as a lens to expand understandings of Conceptual fashion and my own creative practice. This analysis demonstrates that there are valuable connections to be drawn between Conceptual art and Conceptual fashion practice. In particular, these connections reveal the differences between the way Conceptual and more conventional fashion designers relate to the conceptual and the visual in their design process. This exploration demonstrates that while fashion is a visual field, Conceptual fashion designers produce a more ‘intellectual’ type of fashion that uses the visual to communicate ideas that question the nature of fashion. I explore the relevance of these ideas through application and experimentation in my creative practice projects by drawing from systems and rules identified in the work of early Conceptual artists and contemporary Conceptual fashion designers.
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Göransson, Marie, and Celia Lindh. "Internationalisation of Swedish Fashion : A Study of Small Sized Fashion Design Companies." Thesis, Stockholm University, School of Business, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6254.
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<p>Swedish fashion export has increased by eight percent during the year 2005 and the industry turnover of 7.8 billion SEK is higher than ever. Swedish design is thereby securing its position as a future upholder of Swedish economy. During the last two years a number of new fashion design companies have entered the market, however only a few of them are so far earning profits from their creations. The purpose of entering the international market is not only to improve the image of young designer brands, it is in many cases the only, vital opportunity for these companies to increase volumes and profitability. The purpose of the thesis is to define important elements in the internationalisation process of small fashion design companies within the fashion retail industry and based on that conclusion construct an internationalisation model, to be used when planning the companies’ internationalisation process. The authors have performed an empirical study of five of the seven fashion designers that participated in the Dutch fashion fair: Modefabriek, in Amsterdam in January 2006. The reason for this choice is that participation in fashion fairs have shown to be the first step towards international expansion for a small fashion design company. A selection of theories concerning characteristics of small sized companies and internationalisation has also been used since they are applicable on the selected companies in the empirical study. The general conclusion of the study is that a limited domestic market is the main reason for expanding abroad. The authors would like to emphasise that a wish to expand should not have to include a change in the company image. The authors perceive direct export as the preferred entry mode for small sized companies in the fashion industry due to that this entry mode does not require any substantial commitment of financial resources, which implies low risk. The biggest risk and the most important element in the internationalisation process is the need for business and entrepreneurial knowledge. The authors would like to highlight the companies’ need for improvement in both the planning and implementation process.</p>
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Skov, Lise. "Stories of world fashion and the Hong Kong fashion world." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22823682.
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Santos, Tânia dos. "Relatório de estágio na empresa Fashion Studio: identidade da empresa Fashion Studio." Master's thesis, Universidade da Beira Interior, 2012. http://hdl.handle.net/10400.6/1713.
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O presente relatório tem como seu principal objetivo dar a conhecer a experiência profissional da aluna Tânia dos Santos num estágio que teve lugar na agência Fashion Studio, entre o mês de Novembro de 2011 até Abril de 2012.
Desde modo apresenta o percurso percorrido pela aluna, de forma a atender aos objetivos traçados por esta, pela sua orientadora na sua constituição e pela sua tutora na entidade de acolhimento, bem como todos os seus métodos e técnicas aprendidas e utilizadas durante a realização dos projetos a que foi submetida e as suas respetivas conclusões acerca de todo o estágio em geral e das suas avaliações ao longo deste percurso académico, profissional
Ao longo de todo o relatório serão descritos todos os projetos onde a estagiária fez parte da equipa durante o seu plano de estágio, bem como todas as tarefas realizadas pela mesma, refletindo assim todos os conhecimentos adquiridos durante a sua formação académica e na sua primeira experiência profissional na área percebendo como foi a sua evolução ao longo destas distintas atividades.
Através dos conteúdos escritos, pretende-se demonstrar quais os principais objetivos traçados inicialmente e a forma como a estagiária conseguiu cumprir esses mesmos planos e requisitos para que esta obtenha o Grau de Mestre em Branding e Design de Moda.<br>This report aims to describe the internship experience of the Student Tânia dos Santos at the
companhy Fashion Studio’s Agency from November 2011 to April 2012.
Report describes the entire internship main goal, the company and the projects that the
student was involved. As well as the methods and methodologies that was used in all the
projects.
At the same time the present a consideration about her academic and professional
experience and present several projects in which the student was involved during the
internship.
Through the described content is intended to demonstrate how the objectives were achieved
as initially proposed in order to meet all the requirements for obtaining the Degree of
Master of Branding And Fashion Design.
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Barbosa, Ana Cecilia. "Can games save fashion?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23839.
Full textAbstract:
Driven by an envisioned potential of merging theories and practices of play with studies of fashion sustainability, this research went through a play-centric design process to explore the question of How can play and games help reduce fashion waste? Seven design experiments investigated different game impact goals that could have a positive effect on the pursuit of fashion sustainability. The main research findings show that games can create a safe space for players to challenge their own conceptions of fashion. The results also show that games have great potential to assign meaning to garments through shared memories, secrets, stories and meaningful words. Furthermore, the study shows that modular clothes designed as games have the potential to playfully engage their wearers for long, sparking social interaction and inspiring new playful ways to engage with fashion. Additionally, beyond the design process results and actionable insights, this research considers the exposure of its framing to be a crucial contribution. Fashion sustainability is, therefore, a pressuring topic that needs people to be engaged in what they do and know best, in order for transformation to happen. Can games save fashion? The answer is probably no, but this research has proven that play and games offer a fruitful path to start trying.
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Neighbour, Mark Lyle. "The male fashion bias." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18362/1/Mark_Neighbour_Thesis.pdf.
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Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?
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Neighbour, Mark Lyle. "The male fashion bias." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18362/.
Full textAbstract:
Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?
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FREITAS, LUCIANA COSTA DE. "DESIGN STRATEGIES IN FASHION ENTERPRISES: THE INTERPRISES SUCSSESS WEFT IN FASHION DESIGN AT RIO DE JANEIRO CITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11013@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>A dissertação Estratégia de Design em Empreendimentos de
Moda - As
Tramas do Sucesso Empresarial no Design de Moda na Cidade
do Rio de Janeiro
tem como objetivo identificar os elementos da gestão do
design de moda
aplicados aos empreendimentos de moda da cidade desde o
seu surgimento, nos
anos 60, ainda que a aplicação destes elementos tenha se
dado muitas vezes de
forma intuitiva pelos seus gestores. E, assim, avaliar a
importância da
metodologia da Gestão em Design aplicada aos negócios de
moda. A pesquisa
ambienta o sistema de comercialização prêt à porter,
posteriormente, na própria
cidade do Rio de Janeiro, primeiro realçando os elementos
locais que se
traduziram em um estilo carioca, para em seguida traçar um
panorama do
surgimento e desenvolvimento da moda na cidade e como eles
se materializaram
na indumentária e paralelamente num estilo próprio de
vestir. A partir daí, são
elencados alguns elementos de gestão em design (com foco
em branding, gestão
de marcas) que se aplicam à indústria do vestuário e,
posteriormente, associando a
pesquisa bibliográfica à verificação a aplicabilidade
destes elementos citados em
uma pesquisa exploratória, através das entrevistas
qualitativas. É aqui, então que
se materializa a pertinência destas ferramentas, técnicas
e estratégias organizadas
como uma orquestra, de forma a conduzir a marca, a
notoriedade e a excelência
junto ao mercado.<br>The dissertation Design strategies in Fashion Enterprises -
The interprises
sucssess weft in fashion design at Rio de Janeiro city,
focuses on the Business
Success Stories (plots) of Fashion Design in the city of
Rio de Janeiro with the
aim to the identify elements of management in the field of
fashion design and
their application within the undertakings of fashion here
since its emergence in the
nineteen sixties. Furthermore how the application of these
elements were often
introduced intuitively by its managers, herewith
evaluating the relevance of design
management epistemology applied to business generically.
This research depicts
the overall ambience of the fashion system on a whole and
subsequently that of
Rio de Janeiro itself. It does so by, first emphasizing
the local elements that were
translated into a carioca style and then, by describing
the origins and
development of fashion design in this city and finally,
the materialization of its
clothing industry. At the same time it will describe how
it developed into a local
dressing style. From this point on it lists the elements
of management in design
that are applicable to the fashion industry, with branding
management emphasis,
and thereafter, validating it with the bibliographic
research and qualitative field
research of the cited elements. This is where the
relevancy of the tools, techniques
and strategies materialize, organized as an orchestra, in
such a way as to conduct
the brand and carry it onto the absolute renown and
excellence of the market.
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Stasiulyte, Vidmina. "The Aesthetics of the Invisible: Foundations for Sonic Fashion." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-15319.
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Aural experience and sound thinking, in contrast to visual experience and image thinking, change the fundamental manifestation and perception of a dressed body: from looking and being seen to listening and being heard. Looking at and listening to a body that is wearing high heels are fundamentally different experiences. Although sound is an element of dress and identity, the visual sense is predominant in fashion and fashion education, and fashion is essentially understood to be a system of visual components. As an alternative to this dominant focus on the visual, this research investigates the sonic aspects of fashion, approaching them as largely unexplored and potentially interesting ontological alternatives with which to create an understanding of fashion that goes beyond visual stimuli. The primary aim of the research presented in this thesis was to develop an introductory programme for sonic fashion that suggests a shift in focus – from visual perception and appearance to sonic. The programme consists primarily of ontological theory components: methods, tool-shifters, terms, definitions, and categories. The research was conducted through investigations of sonic dress and sonic expressions, which were approached as interactions between the body and dress that occur during the act of wearing. Sonic aspects were explored on a fundamental level – i.e. the natural (physical) sounds of dress – in a manner that is relatively unprecedented in the fashion field, and so the research was experimental and speculative. Knowledge regarding sonic expressions was collected using sound-based thinking in the form of listening/sounding research artefacts, which raised ontological questions; What is a sonic silhouette? How a sonic silhouette is created? The research was conducted by exploring, recording, and systematising sounds arising from body-dress and dress-dress interactions, as well as speculative experimental workshops with students and case study involving people with differing seeing abilities.More generally, the research broadens our conception of fashion aesthetics by presenting a new direction for the fashion design field; a non-visual aesthetic that is based on sonic expression, wherein sound is considered to be a design/design thinking material and an alternative way of defining a silhouette.
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Sönmez, Bahar Kipöz Şölen. "Fashion and communication concept in industrial design/." [s.l.]: [s.n.], 2004. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000453.pdf.
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WIMBY, FANNY, and EMMA WALLIN. "Fast Fashion : Företagens miljöarbete ur kundens perspektiv." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17371.
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I samma takt som produktionen av kläder tilltar, ökar även medvetenheten kring dess miljöpåverkan. Många företag arbetar efter avtal, märkningar och uppförandekoder för att på så vis reducera påverkan, dock kan det vara svårt för konsumenterna att veta vad de faktiskt står för och betyder. Syftet med den här uppsatsen är att undersöka hur kunden ser på fast fashion-företagets miljöarbete, hur företaget själva ser på det, samt om kundens uppfattning går att förändra. Undersökningen är avgränsad till att undersöka företaget Gina Tricot som ett exempel på företeelsen fast fashion- företag. För att kunna analysera informationen används kommunikationsmodellen, där sändaren skickar ett meddelande genom bruset till mottagaren, för att senare få tillbaka feedback från mottagagaren. Den emiriska delen av arbetet består av en intervju, en enkätundersökning samt två dolda observationer. Intervjun genomfördes via mejl med Gina Tricots Hållbarhetschef Marcus Bergman. Enkätundersökningen består av ett flertal frågor kring Gina Tricots miljöarbete samt en informationstext om det här. Den dolda observationen genomfördes i två geografiskt olika butiker, där vi undersökte hur företagets miljöarbete kommuniceras i butiken. Av den insamlade informationen kan man se att kundens och företagets uppfattning om hur de arbetar med miljö skiljer sig åt. Skillnaderna kan bero på olika saker, men främst på brist i företagets kommunikation med sina kunder.<br>Program: Butikschef, textil och mode
36
Mosina, E. O. "Abstract vision in fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11355.
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Kashanipour, Morvarid. ""Mobile Fashion" Application." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-105629.
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This master thesis investigates studies on fashion oriented people according to the "Outfit-Centric Accessories" concept. The outfit-centric accessories concept originated from recent research study by Juhlin and Zhang (2011) about mobile phone representation in fashion and Aesthetic of Interaction area of Human-Computer Interaction (HCI). The term outfit-centric accessories originated from clothing and wearer. In this concept an outfit is playing a role as the centerpiece and a mobile phone is functioning as a sort of an accessory that can be added to an outfit. The main aim here is to explore design solution for matching the visual appearance of mobile device with different outfit of a person. The first phase of this thesis is based on a research conducted through a literature review on the Aesthetic Interaction and the Experience-Centered design approach. Literature study has been followed by studies the relation between the fashion and technology and the outfit-centric accessories concept precisely. The findings that are presented here are based on field studies on fashion oriented people who are interested in mobile phone design. Filed studies were conducted through gathering input entries from social networking services such as Facebook and Blogger, survey of questionnaire on outfit matching mechanism, and inquiring people around. The findings are described the outfit "Match Mechanism" and the "social activities around the outfit matching" in relation to the concept. These descriptions have led the project to the system design and development phase regarding the outfit-centric accessories concept. This phase resulted in the Android based mobile application named "Mobile Fashion". This application enables a user to match a mobile device with variety of clothing in the form of a background image, cover, or printable sticker (skin phone) and it allows a user to participate in social services by sharing the look with others. It is worth mentioning that "Mobile Fashion" application presented in Vinnova-nytt (June 2011, No.3, p15) and International Joint Conference on Ambient Intelligent (AmI'11 November, 16, 2011, Amsterdam) (see appendix 14 and 15).
38
Balestan, Thomas. "/ˈfluːɪd/ Design : Towards an inclusive fashion retail". Thesis, Konstfack, Industridesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7336.
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/ˈfluːɪd/ is a project that explores the retail part of the fashion world. By creating an inclusive shopping experience, this project aims to escape the binary world of clothing stores. Working with second-hand pieces, the goal is not to create new garments, but to give everyone access to the full spectrum of clothes. In that way, /ˈfluːɪd/ aspires to provide a safe place which inspires self-expression and stimulates individuality as well as a sense of togetherness. Fluidity being the core concept, the proposal addresses different matters, such as gender, size and audacity. To implement gender fluidity, there will not be any gender categorization, but the clothes will be sorted by colors only. Getting rid of the existing labels and producing a new flexible size chart will initiate a personalized experience and harmonize the systems between the different brands. Designing /ˈfluːɪd/ is designing both an experience and a physical space, to provide a place which encourages anyone to express themself in public.
39
Rigby, Emma Dulcie. "Fashion design and laundry practices : practice-orientated approaches to design for sustainability." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12014/.
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This doctoral enquiry develops practice-orientated approaches to design for sustainability. It focuses on the relationship between garment design, laundry practices and sustainability, and responds to research that evidences domestic laundering as one of the most environmentally damaging stages in a garment’s lifecycle (Allwood, et al.,2006; Hansen, et al., 2007). A one-year laundry study surveyed the use and laundry of sixteen garments to ascertain the relationship between garment design and laundry behaviour. The research findings revealed that laundry behaviours are complex and unpredictable, and often not directly linked to producing cleaner clothes. Laundry routines are underpinned by factors beyond cleanliness including: garment use, social auditing, garment aesthetics,life stage, cultural norms, and spatial arrangements within the household. Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. The findings highlight that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. It decentres material products and attends to the embedded social dynamics that are set within a nexus of spaces, materials, thoughts, actions and emotions. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion. The central insight from the research shows there are multiple benefits from incorporating social theory into methodologies for design for sustainability.
40
Torkildsby, Anne Britt. "Existential design : revisiting the "dark side" of design thinking." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3691.
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This thesis aims to discuss ways of opening up the design brief when designing for extreme environments such as intensive care units and remand prisons. Focusing on “designials” (fundamental forms of design being), the methodology intends to illustrate the fact that objects may directly impinge upon certain “existentials” (fundamental forms of human being). Moreover, the method is a form of critical design that enables designers to shift focus, from analysis of the functionality of a design in use, e.g. by performing a functional analysis, to analysis of the form of being human that a design in use defines. More importantly, this thesis considers what may happen if we do not take into account this aspect of design; in other words, the “dark side” of design thinking.<br><p>Editor: Lars Hällnäs (LHS), Swedish Shcool of Textiles</p>
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Stoller, Katie Blake. "Blending Fashion and Function: Evolving Consumer Perceptions of Activewear." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620250620709369.
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Vieira, Cibele Helena. "O design de moda e a indústria." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/12313.
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Bill, Amanda Elizabeth. "Creative girls: fashion design education and governmentality." Thesis, University of Auckland, 2009. http://hdl.handle.net/2292/4234.
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This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.
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Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.
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Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
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Bexell, Felicia. "MINDTRIP : An exploration of mirror illusions in fashion design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-22031.
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This work explores the interactive use of mirrored and reflective materials in the context of fashion. It draws parallels between the way in which it has been used in architecture in comparison to fashion and seeks a way to make a fair translation between the two mediums. The motive behind this work lies in the curiosity to explore reflective mirror materials in clothing beyond simply as shiny surface materials and aims instead to explore its illusive properties when combined with archetypical pattern prints. This to explore the potential aesthetic expressions it could bring to the fashion field. Using the theoretical approach of convergence, divergence, and transformation by Jones and methods by Thornquist that was slightly modified and reworked to fit the context of this project. Investigations with the reflective material were tested in different scales, both by draping with the material as is and by cutting and placing it in different ways in relation to the printed textile material. Derived from these experiments a new illusive material was created with special draping and shaping properties that came to define the collection as a whole.
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Klymenko, O. I. "Modern inventions in the fashion and interior design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14372.
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SADDI, MONICA SABOIA. "FASHION BRAND STORES: INTEGRATING THE FASHION BRAND IDENTITY TO POINT OF PURCHASE DESIGN PROJECTS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13339@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>A presente pesquisa aborda os projetos de design para pontos de venda de
marcas de moda, como importantes veículos de transmissão da identidade das
marcas. Analisa os processos de integração desses projetos entre si e com a
identidade das marcas. A pesquisa de campo foi realizada através do método de
pesquisa-ação participante, durante um ano, para testar um modelo de integração,
em duas empresas de varejo de moda no Rio de Janeiro. A pesquisa bibliográfica
relaciona a velocidade e efemeridade do contexto atual, com o desafio
permanente da construção da identidade e do valor simbólico das marcas de
moda; considera os estudos sobre marcas em geral para relacioná-los à dinâmica
específica do varejo de moda; desenvolve o conceito ampliado de marca e de
marcas de varejo de moda; analisa estratégias de empresas líderes do varejo de
moda mundial que exploram os projetos de design do ponto de venda para
oferecer aos indivíduos experiências e encontro de significados; destaca a
necessidade de gestão desses projetos, para promover maior integração na
construção da identidade das marcas de moda, e propõe um modelo de integração
para os projetos de design do ponto de venda com a identidade da marca. A
pesquisa contribui com o aumento do conhecimento no campo da moda,
oferecendo uma abordagem específica desta área, no que diz respeito à gestão das
marcas no contexto do varejo de moda e a importância do design nos projetos do
ponto de venda, para a construção da identidade das marcas de moda.<br>This present research approaches the fashion brands point of purchase
design projects as an important way of transmission for their brand identity.
Assess the process of development and integrating of these projects with one
another and with the brand identity. The practical research was realized by a
participative action research, during one year, to test a model of integration
process, on two fashion retail companies in Rio de Janeiro. The bibliography
relates the velocity and ephemerally of the current context, with the permanent
challenge to build up the identity and symbolic value of fashion retail brands;
consider the studies about general brands to relates them to the fashion retail
specific dynamic; develops the broadest brand concept and fashion retail brands
concept; analyzes some practices of global fashion retail leaders, who explore
points of purchase design projects, offering to their costumers, experiences and
meanings; highlights the need of management of these projects to promote more
integration to build up the identity of the fashion brands, and propose one model
of integration for point of purchase design projects and brand identity. The
research expand the knowledge of fashion, offering a specific study of this area,
about brand management in fashion retail context and the importance of design in
point of purchase projects to build the fashion brand identity.
48
Zahid, Iqba Muhammad. "Sustainable Fashion Consumption and Consumer Behavior." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20715.
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Thesis was carried out to make an estimation of the willingness of consumers to buy the clothes produced under eco-friendly and decent way. Neoclassic demand theory was used and basic idea was to know that either moral effects on a consumer’s individual decision while choosing the products manufactured under friendly environment or not; if yes, then how and how much. Survey method along with choice experiment analysis was used to collect the data. Selected area was Boras Sweden and 50 respondents were considered for the survey. To estimate the degree of willingness of a consumer to pay for a Swan labeled and/or Fairtrade labeled jeans, choice experiments was used. Afterwards, the collected data was used within econometric models. It has been observed from results that consumers were more willing to pay for a Swan labeled and/or Fairtrade labeled jeans than non-labeled jeans. The responsible individuals regarding environment were much more willing to pay for Fairtrade and/or Swan labeled clothes, considering the factor that production does not affect the environment in negative way and it was done under socially acceptable conditions.<br>Program: Magisterutbildning i Fashion Management
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Payne, Alice Ruth. "Design, sustainability and Australian mass-market fashion : three case studies." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61985/1/Alice_Payne_Thesis.pdf.
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The production of fashion garments has negative environmental and social impacts that can potentially be reduced through decisions made in the design process. This research explores to what extent Australian mass-market fashion designers consider environmental sustainability within product design. The study presents three case studies from different market levels, assembled through interviews with designers, along with an analysis of the Australian mass-market fashion industry. The project provides insights into the workings of the fashion design process within mid and high volume companies, and identifies opportunities and barriers for consideration of sustainability.
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Silva, Bárbara Cravo da. "Design e moda na constituição do design de moda: possíveis relações de aproximação e distanciamento entre o campo do design e o campo da moda eventualmente discerníveis na construção de repertório teórico do design de moda." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-22062015-145529/.
Full textAbstract:
A partir de 2004, no Brasil, com autorização do Ministério da Educação, cursos de nível superior voltados para formação do profissional da área de criação em moda passaram a ser amparados nas diretrizes curriculares do campo do design. Desta forma, a recente integração entre elementos do campo do design e elementos do campo da moda proporcionou o surgimento e compartilhamento desta nova subárea, o design de moda, e uma nova categoria profissional foi estabelecida, o designer de moda. A presente pesquisa analisa possíveis relações entre referenciais teóricos do campo do design e do campo da moda a partir da perspectiva do design de moda. Investiga, também, como tais referenciais interagem e são articulados na consolidação de um repertório teórico próprio do design de moda e que outras possíveis relações emergem deste momento de transição e integração de conteúdos, sobretudo no âmbito nacional. Tem como propósito norteador promover o aprofundamento da discussão sobre as confluências e dissonâncias entre os campos de design e de moda intrínsecas ao design de moda, na tentativa de contribuir para a integração entre os campos por meio da articulação de conceitos e conteúdos teóricos. E compreende, por fim, os campos de design e de moda como equivalentes na possibilidade de gerar, reciprocamente, críticas construtivas.<br>Since 2004, with authorization from the Ministry of Education, higher education courses for training the professional creative field in fashion are now supported in the curriculum guidelines of the design field. Thus, the recent integration between the elements of the design field and elements of the fashion field provided the emergence and sharing of this new sub-area, fashion design, and a new category was established, the fashion designer. This research analyzes possible relations between theoretical frameworks of the design field and the fashion field from the fashion design perspective. It also investigates, as such references interact and are articulated in the consolidation of its own theoretical repertoire of fashion design and other possible relationships emerge from this time of transition and integration of content, especially at the national level. Its purpose is to promote further discussion of the consensus and dissent between design and fashion fields, intrinsic to fashion design in an attempt to contribute to the integration between the fields through the articulation of concepts and theoretical contents. And understand, finally, the design and fashion fields as equivalent in the possibility of generating, conversely, constructive criticism.