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Journal articles on the topic 'Fashion design'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Zhao, Lihuan, Silu Liu, and Xiaoming Zhao. "Big data and digital design models for fashion design." Journal of Engineered Fibers and Fabrics 16 (January 2021): 155892502110190. http://dx.doi.org/10.1177/15589250211019023.

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The demand for fashion, and for virtual fitting and personalized fashion among customers, is changing the design and consumption of fashion. To meet such challenges, fashion design models are being developed based on big data and digitization, in which fashion is designed based on data, virtual fitting, design-support systems, and recommendation systems. This paper reviews the fashion design models proposed in recent years and considers future development directions for fashion design. Using big data and digital processing technologies, fashion designers identify the characteristics of popular

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2

Smal, Desiree. "Design + Sustainability = Fashion: Sustainable Design Praxis in Fashion." International Journal of Designed Objects 6, no. 3 (2013): 41–47. http://dx.doi.org/10.18848/2325-1379/cgp/v06i03/57925.

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来, 思渊. "Virtual Fashion Design: The Democratiza-tion of Fashion in an Age of Creative Liberation." Design 09, no. 01 (2024): 583–89. http://dx.doi.org/10.12677/design.2024.91070.

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DLA, Edit Csanák. "Fashion Design in ROWE Fashion PLMs." International Journal of Fashion Technology & Textile Engineering 1, no. 1 (2019): 1–10. http://dx.doi.org/10.15226/2641-760x/1/1/00107.

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N.A., Marzie Hatef Jalil. "Eco-Fashion Design." International Journal of Sustainable Design 4, no. 3 (2022): 1. http://dx.doi.org/10.1504/ijsdes.2022.10044704.

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6

Black, Sandy. "Fashion Design Practices." Fashion Practice 13, no. 3 (2021): 327–30. http://dx.doi.org/10.1080/17569370.2021.1984034.

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Han, Minjae, and Younhee Lee. "Deconstruction fashion design through an analysis of Korean fashion design." Research Journal of the Costume Culture 30, no. 1 (2022): 66–87. http://dx.doi.org/10.29049/rjcc.2022.30.1.66.

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Hatef Jalil, Marzie, and Siti Shukhaila Shaharuddin. "Fashion Designer Behavior Toward Eco-Fashion Design." Journal of Visual Art and Design 12, no. 1 (2020): 1. http://dx.doi.org/10.5614/j.vad.2020.12.1.1.

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吕, 志雯. "The Application of Surrealism in Modern Fashion Design." Design 08, no. 02 (2023): 257–63. http://dx.doi.org/10.12677/design.2023.82036.

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王, 欣琦. "Fabric Reconstruction and Its Application in Fashion Design." Design 08, no. 01 (2023): 59–64. http://dx.doi.org/10.12677/design.2023.81009.

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Melkova, Svetlana. "Fashion design within the structure of contemporary design." Культура и искусство, no. 3 (March 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.3.32432.

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The object of this research is fashion design as one of the new directions in design. Design is constantly developing due to broadening of its area of application and people demonstrate new ideas and demands. The subject of this research is the conceptual-terminological apparatus of fashion design. The author reveals the content of the new concept of &ldquo;fashion design&rdquo; that reflects vast proliferation of design activity generated by fashion, including costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashionable brands,

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Choi, Kyung He. "Fashion Design Development Process Using Transparency of Superimposition - Focused on Fashion Illustration and Fashion Design Works -." Journal of The Korean Society of Fashion Design 15, no. 3 (2015): 69–85. http://dx.doi.org/10.18652/2015.15.3.5.

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Coruh, Esen. "Teaching technical specifications in fashion design education." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 256–63. http://dx.doi.org/10.18844/gjhss.v2i1.319.

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14

Chui, Y. T., and Gail Taylor. "Interactive Fashion Featuring of Sound in Fashion Design." Research Journal of Textile and Apparel 16, no. 4 (2012): 1–13. http://dx.doi.org/10.1108/rjta-16-04-2012-b001.

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15

Kapoor, Deepa. "Fashion Designing & Fashion Trends in Current Scenario." International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (2023): 1491–94. http://dx.doi.org/10.22214/ijraset.2023.48852.

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Abstract: This research is clear about the fashion related to humans and their lives. This collection is sourced from field visit books and the internet. The fashion industry has changed a lot over the years. Fashion houses are no longer working with two collections per year - Fall/Winter and Spring/Summer. Multiple fashion professionals are working with multiple collections and deliveries every season. They are constantly inventing new ideas and creating new products to meet the aspirations of their customers. 'Fast fashion' companies are successfully using a variety of strategies to reduce p

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Petrov, Julia. "Fashion and Design Gallery." Dress 46, no. 2 (2020): 175–78. http://dx.doi.org/10.1080/03612112.2020.1787594.

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Almond, Kevin. "Zero Waste Fashion Design." Fashion Practice 10, no. 1 (2017): 119–23. http://dx.doi.org/10.1080/17569370.2017.1358416.

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18

Biaett, Vern. "Fashion, Design and Events." Tourism Management 50 (October 2015): 57–58. http://dx.doi.org/10.1016/j.tourman.2015.01.014.

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19

Filieri, Juri, Elisabetta Benelli, and Francesca Filippi. "Fashion Design and Art." Fashion Highlight 1, no. 1 (2023): 88–95. http://dx.doi.org/10.36253/fh-2265.

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Observing the 20th century, it becomes clear how much the definition of fashion as an inferior reflection of art is definitively outdated, in favour of a more complex and equitable relationship of mutualistic inference that places fashion within the ranks of the arts of modernity. Fashion has always utilised art in its rhetoric and draws on an innumerable series of expressions and idioms, contending with art for the esteem and social prominence accorded to high culture. The granted and denied relationship with time appears central in the definition of similarities and differences, essential to

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20

Yi, Bingqing. "Fashion Design and Globalisation." Research on Literary and Art Development 2, no. 4 (2021): 10–15. http://dx.doi.org/10.47297/wsprolaadwsp2634-786502.20210204.

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21

Sprynskyj, Denise, and Peter Boyd. "Fashion Design Process: SIX." Scope: Contemporary Research Topics (Art & Design), no. 25 (2023): 78–80. http://dx.doi.org/10.34074/scop.1025011.

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22

Kim, Sung Hyon, and Min-Ja Kim. "Applying TRIZ Theory to Fashion Design - Focused on Rei Kawakubo's Fashion Design -." Korean Society of Costume 62, no. 7 (2012): 79–96. http://dx.doi.org/10.7233/jksc.2012.62.7.079.

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23

常, 冉. "Research on Fashion Scarf Design Based on Surrealist Style." Design 08, no. 04 (2023): 2205–12. http://dx.doi.org/10.12677/design.2023.84266.

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24

Egri, Petra. "The Derridean (Un)hostility of Fashion." Pázmány Papers – Journal of Languages and Cultures 2, no. 1 (2024): 73–83. https://doi.org/10.69706/pp.2024.2.1.5.

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"There is, to all appearances, a philosophic hostility to fashionable dress." - writes Karen Hanson in Dressing Down Dressing Up: The Philosophic Fear of Fashion. Hanson's study identifies several points - from the ever-changing nature of fashion to the ethicality of the fashion industry - from which philosophy has historically criticized and continues to criticize fashion as a social phenomenon, industry, and art form. In this sense, deconstruction indicates new critical design practice and (self-)critique of the fashion industry. The notion of "hostility’ in the vocabulary of deconstruction

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25

Armstrong, Leah. "“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design." Design Issues 37, no. 3 (2021): 5–17. http://dx.doi.org/10.1162/desi_a_00644.

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Abstract In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relations

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26

Pamela, C. Scorzin. "Theatre of Fashion: Scenographic Fashion Shows as Theatrical Practice in Design." Art Style, Art & Culture International Magazine 1, no. 1 (2019): 11–22. https://doi.org/10.5281/zenodo.4068408.

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Art Style | Art & Culture International Magazine Abstract Contemporary fashion design is increasingly taking to the stage – in the figurative sense, but also quite literally. Scenographic practices, familiar to us until now only from the theatre, the concert stage and the opera, today are progressively turning up in the conquest of consumption’s commercial spaces. However, here, too, “scenography” does not just mean creating a visual background, a pretty décor or striking set design for the presentation space and the staging of fashion and brands. In the cont

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27

Titton, Monica. "OVERCOMING THE CREATIVE CRISIS OF THE FASHION INDUSTRY." Fashion Highlight, no. 2 (February 15, 2024): 44–50. http://dx.doi.org/10.36253/fh-2499.

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The paper uses the advent of generative AI in fashion to critically examine the tenets of contemporary fashion design. As an exemplary case study, the work of Demna Gvasalia’s at the helm of Balenciaga is critically scrutinized and discussed as the result of the fashion industry’s ever-increasing speed and high demand of products at every price range. Within a hyper-globalized industry, fashion designers are forced to accelerate their design process with low production costs and high profits in mind. Given the systematic denial of fashion design understood as intentional creation by mainstream

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28

Siddiqa, Ayesha. "Revolutionary 3D Design with AI." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 05 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem34308.

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The 3D design delves into the creation and deployment of an innovative web experience that seamlessly merges Artificial Intelligence (AI) technology and captivating 3D visuals within a React-based framework. It demonstrates the utilization of AI algorithms for enhancing user interactivity, personalization, and the creation of dynamic 3D elements, fostering a captivating user experience. Embark on a transformative journey into the heart of fashion's evolution, this unveils a paradigm-shifting collaboration between Artificial Intelligence (AI) and 3D cloth design, heralding a new era of creativi

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29

Guo, Tao. "Fashion Design Professional Basis Based on Design Process." Advanced Materials Research 989-994 (July 2014): 5098–101. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.5098.

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In the process of fashion design, design process is very important, and it can be implemented by the computer assistant design software using the 2D&3D modeling technique. Virtual fashion design and simulation involves a combination of a large range of techniques, involving mechanical simulation, collision detection, and user interface techniques for creating garments. In this paper, we study the computer assistant fashion design based on the 2D&3D modeling technique by the design process. We perform an extensive review of the fashion design and its design process, and studied computer

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30

Fredriksson, Cecilia. "Retail and Fashion – A Happy Marriage?: The Making of a Fashion Industry Research Design." Culture Unbound 3, no. 1 (2011): 43–54. http://dx.doi.org/10.3384/cu.2000.1525.11343.

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Fashion and retail ought to be a happy marriage. Yet several entrepreneurs in the field of fashion speak of a climate that is difficult to penetrate because of economic and cultural factors. For example, the chain store concept is an expression of the specific and current fashion situation in Sweden: democratic fashion that is cheap and accessible. At the same time, customers now demand personal, unique and ethical fashions. However, there are few possibilities in this climate for low cost development in progressive Swedish design. This article addresses the questions of how special trade cond

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31

Fenton, Veronica. "THE NEUROAESTHETICS OF FASHION DESIGN." International Journal of Research -GRANTHAALAYAH 9, no. 4 (2021): 343–52. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3869.

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Close your eyes and imagine that you are in an art museum. You look over your right shoulder and see a painting of a lush garden landscape. Try to investi- gate it further. Observe the abundance of pastel-colored flowers, engaging van- tage points and mystical partially hidden pathways.a Then, consider how the landscape makes you feel. Now, keep your eyes closed and imagine another scenario. You are sitting in the front row of Christian Dior’s “The Garden of Earthly Delights” fashion show.b Try to concentrate on the clothing. Observe the plethora of delicate, soft-hued, floral-print gowns. Fin

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32

Devetak, Tanja. "Space In Fashion Design – Ƒ2 (Fabiani Fashion) Case Study." South East European Journal of Architecture and Design 2016 (December 17, 2016): 1–6. http://dx.doi.org/10.3889/seejad.2016.10027.

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TThese research inquiries into the transformation of complex architectural spatial objects into contemporary garments by implementing creative pattern cutting as an integrated part of the fashion design process. From the architecture design process, a creative process of generating ideas using the human body as the centre point of the creative process, and an understanding of the envelope around that space were implemented and researched in fashion design. A creative construction method evolved using the standard matrix of basic blocks and implementation of the sculptural work by creating thre

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33

da Costa Soares, Paula. "Portuguese Fashion Design Emerging Between Dictatorship and Fast Fashion." Fashion Theory 15, no. 2 (2011): 225–38. http://dx.doi.org/10.2752/175174111x12954359478762.

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34

Kondakova, Yu. "COLLABORATION OF FASHION AND SCIENCE IN MODERN FASHION DESIGN." Technical Aesthetics and Design Research 4, no. 3 (2023): 5–18. http://dx.doi.org/10.34031/2687-0878-2022-4-3-5-18.

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Modern fashion is a zone of influence of the active development of science and technology, embodying the ideas of descience in the creativity of modern designers and contributing to its development. The object of the study is the components of the collaboration of fashion and science as a key trend in modern fashion design – innovation and environmental friendliness. The methodological basis of the research was made up of general scientific methods of cognition, in particular, the system method, comparative and structural-functional approaches, the idea of developing a synthesis of science and

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35

.SEENIVASAN, Dr R. "An Economic Study on Fashion Design and Fashion Culture." Journal of Public Administration 1, no. 2 (2019): 50–57. http://dx.doi.org/10.22259/2642-8318.0102007.

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36

Daria, Yu. ERMILOVA. "The concept of art design in fashion design." Service plus 16, no. 3 (2022): 102–13. https://doi.org/10.5281/zenodo.7379927.

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The study is devoted to the creative concept of art design in fashion design. The subject of research is design concepts in fashion design. The research topic is the diverse links between art and the fashion industry, which can be considered as the basis for the formation of the concept of art design. The purpose of the study is to identify the features of the interaction of art with the creative practice of fashion design and the reasons for representing the utilitarian object as a work of art. The hypothesis of the study is that the connection between art and the fashion industry can become

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37

Kang, GyuYeon, and Sunhee Park. "Implementation of Fashion Design Collections Using Generative AI - Focused on Sustainable Fashion Design -." Korean Society of Fashion Design 25, no. 1 (2025): 117–33. https://doi.org/10.18652/2025.25.1.7.

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38

刘, 佳咪. "Study on the Trend of Scene in Y2K Fashion Design." Design 08, no. 04 (2023): 2394–403. http://dx.doi.org/10.12677/design.2023.84290.

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39

Geraffo, Monica. "The house of Van Dyne: Defining Marvel’s superhero fashion designer." Film, Fashion & Consumption 9, no. 2 (2020): 201–23. http://dx.doi.org/10.1386/ffc_00020_1.

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Marvel Comics superhero and founding member of The Avengers Janet Van Dyne, the Wasp, has been portrayed as an in-canon fashion designer not just of superhero costumes but also of civilian clothing. Through her continuous usage as a narrative device that functions as an authority on style and taste, the proliferous designs depicted as created by Van Dyne over her almost sixty-year history have expanded to be worn by so many heroes across the Marvel Universe that they subconsciously define our overall conceptions of superhero fashion. This article evaluates Van Dyne’s fictional fashion designs

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40

F Dsouza, Rebecca, and Grigory Sergeenko. "A Design Project Management in the Fashion Business." International Journal of Science and Research (IJSR) 10, no. 5 (2021): 1204–10. https://doi.org/10.21275/sr21526173316.

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41

Haug, Anders, and Mia Borch Münster. "Design variables and constraints in fashion store design processes." International Journal of Retail & Distribution Management 43, no. 9 (2015): 831–48. http://dx.doi.org/10.1108/ijrdm-11-2013-0207.

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Purpose – Several frameworks of retail store environment variables exist, but as shown by this paper, they are not particularly well-suited for supporting fashion store design processes. Thus, in order to provide an improved understanding of fashion store design, the purpose of this paper is to identify the most important store design variables, organise these variables into categories, understand the design constraints between categories, and determine the most influential stakeholders. Design/methodology/approach – Based on a discussion of existing literature, the paper defines a framework o

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42

Lee, Youn-Hee, Hyun-Ah Lee, and Jae-Ok Park. "Sustainable Slow Design in Contemporary Fashion Design." Journal of the Korean Society of Clothing and Textiles 31, no. 1 (2007): 21–32. http://dx.doi.org/10.5850/jksct.2007.31.1.021.

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43

Choi, Minju, Vu Tran Phuong Anh, and Seonju Kam. "Gorpcore Fashion Design With Life Cycle Design." Journal of the Korean Society of Costume 74, no. 3 (2024): 40–53. http://dx.doi.org/10.7233/jksc.2024.74.3.040.

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44

CETINER, Muazzez, and Naile Rengin OYMAN. "Sustainable Fashion Design and Bag Design Example." Art and Interpretation 1, no. 40 (2022): 23–41. http://dx.doi.org/10.5152/ai.2022.1001144.

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45

Tse, Florence, T. F., and Catherine Y. P. Chan. "New approach for fashion design." Research Journal of Textile and Apparel 20, no. 1 (2016): 53–60. http://dx.doi.org/10.1108/rjta-02-2015-0004.

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Purpose This paper aims to suggest a user-approach to doing style designs for apparel products. Design/methodology/approach A case of the approach to produce a collection of party dresses for mothers-to-be was presented. Two consecutive studies were conducted to understand and identify the needs of contemporary business women for maternity party dresses to attend banquets and functions. In these two studies, direct dialogue with target customers and scene deployment were used to collect the voice of the customer (VOC); affinity diagramming was used to organize the collected VOC data into items

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46

Abed alganee hussen, Salah Abed alganee, and Faten Ali Hussien. "Creative Design of Decorative Additions in Fashion Design." Journal of Techniques 2, no. 2 (2020): 38–45. http://dx.doi.org/10.51173/jt.v2i2.176.

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The decorative additions were a distinctive part and a prominent place in fashion design, which produced variants in the context of the form of supplements, whose parts are associated with the design of the costume. The presence of decorative additions may be excessive and may be taken as a predominant form, depending on the creative level of the designer in relation to the physical composition of the addendum, its type, location and methods of showing it in the fashion design of women. "What is the role of decorative additions and their effectiveness in fashion design? Objective of the resear

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47

Coruh, Esen. "Teaching technical specifications in fashion design education." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 356–63. http://dx.doi.org/10.18844/prosoc.v2i1.319.

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Technical specifications of the fashion designs should be made into written form to produce a clothing collection. Thus, the designer visualizes his/her idea using technical drawings. To fully realize his/her idea, it is important that the designer should provide the details regarding the technical specifications correctly. Because while a clothing collection is produced, it goes through many processes by different people. That the designer introduces technical specifications in detail provides accurate production of the collection.In this study, the fashion design process is gathered under fi

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48

王, 孝轩. "The Method and Artistic Value of Stereoscopic Flower Decoration Design in Fashion Design." Design 08, no. 04 (2023): 3305–11. http://dx.doi.org/10.12677/design.2023.84407.

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49

Mauliya Fitriani, Della Miftahurrizka, Mizan Imani Naqsyabandi, and Noerma Kurnia Fajarwati. "Peran Penting Hukum dalam Melindungi Desain Fashion Dalam Perspektif Perlindungan Kekayaan Intelektual." Terang : Jurnal Kajian Ilmu Sosial, Politik dan Hukum 1, no. 1 (2024): 17–25. http://dx.doi.org/10.62383/terang.v1i1.51.

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Fashion design as a creative and intellectual expression requires appropriate legal protection to encourage innovation and protect the rights of creators. This article discusses the important role of law in protecting fashion design from an intellectual protection perspective. This approach involves an analysis of the role of intellectual property rights, especially copyright and industrial design, in providing adequate protection for works of art in the world of fashion. Copyright provides automatic protection for original works, including fashion designs. However, copyright restrictions resu

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50

Chiaroni, Keren Muriel. "Fashion and Design Trend-forecasting." International Journal of the Arts in Society: Annual Review 4, no. 4 (2009): 71–80. http://dx.doi.org/10.18848/1833-1866/cgp/v04i04/35670.

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