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Journal articles on the topic 'Fashion Designers'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Dykhnych, Liudmyla. "Visual Art as a Means of Presenting a Fashion Designer's Creative Idea." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 213–26. https://doi.org/10.31866/2410-1915.24.2023.287699.

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<i>The aim of the article </i>is to identify the types and functions of fashion graphics as a means of visualising the ideas and concepts of a fashion designer. <i>Results</i>. The role of visual art in expressing the idea of a fashion designer is characterised; based on the systematisation and analysis of examples of fashion graphics that visualise clothing models of such designers as K. Dior, Y. Saint Laurent, H. Mepen, V. Nesmiian, A. Tan, V. Anisimov, as well as the author's graphics of K. Lagerfeld, the following types of using visual art in presenting designer's ideas are identified 1) f

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2

Agusalim, Nadia Putri. "Fashion Business Sustainability for Fashion Designers in the Indonesian Fashion Industry." International Journal of Review Management Business and Entrepreneurship (RMBE) 1, no. 2 (2021): 144–52. http://dx.doi.org/10.37715/rmbe.v1i2.2423.

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The fashion industry remains as one of the most highly competitive industries where many fashion designers may find it difficult to establish sustainable fashion businesses. Navigating through the fashion business and ensuring business success, growth and long-term sustainability were generally considered to be the ultimate goal and biggest challenge many fashion designers continue to struggle with. This study was aimed to determine all key factors that are integral and contribute to fashion business sustainability by presenting findings provided by three Indonesian fashion designer’s response

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3

Dykhnych, Liudmyla. "Visual Art as a Means of Presenting a Fashion Designer’s Creative Idea." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 213–26. http://dx.doi.org/10.31866/2410-1915.24.2023.287699.

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The aim of the article is to identify the types and functions of fashion graphics as a means of visualising the ideas and concepts of a fashion designer. Results. The role of visual art in expressing the idea of a fashion designer is characterised; based on the systematisation and analysis of examples of fashion graphics that visualise clothing models of such designers as K. Dior, Y. Saint Laurent, H. Mepen, V. Nesmiian, A. Tan, V. Anisimov, as well as the author’s graphics of K. Lagerfeld, the following types of using visual art in presenting designer’s ideas are identified 1) fashion illustr

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4

Guo, You Nan, and Xiao Wei Xu. "Talking Designer's Emotional State in the Fashion Creation." Advanced Materials Research 796 (September 2013): 538–41. http://dx.doi.org/10.4028/www.scientific.net/amr.796.538.

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Designer's emotional state in the fashion creation process is the subject of long-term concern. This article attempts to clothing fabrics, clothing brand fashion and clothing design goal level, attempts to explore how designers will infuse art and technology into the fabric material and fashion design, turning it into a designer emotion materialized form..

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Arutcheva, Daria D. "Transformation of Graphic Fashion Techniques in the Context of the History of Costume Design." Sphere of culture 6, no. 1 (2025): 51–60. https://doi.org/10.48164/2713-301x_2025_19_51.

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The change in the person’s appearance in works of fine art has been accompanied by the historical evolution of a fashion drawing, its approaches and graphic techniques. This article reveals the interaction of the designer’s sketch with the embodiment of the finished costume at various points in the history of the costume. A fashion drawing is seen as a major graphic skill for a designer or a costume designer. The emergemce of illustration and magazine graphics in fashion is traced, as well as the evolution of fashion graphics in world culture. The creativity of the most outstanding fashion des

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Rosihan, Mursyida, and Asliza Aris. "The Influence of Cultural Values Towards Creativity Enhancement: The Case of Malaysian Fashion Designers." International Journal of Art and Design 6, no. 1 (2022): 93–107. http://dx.doi.org/10.24191/ijad.v6i1.1354.

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Malaysian fashion designers face difficulties and challenges in competing in the fashion industry due to the emerging international brands that exist in the market. Cultural values have influenced fashion designers in the process of design concept and use of textiles over time. This paper attempts to analyse the influence of cultural values on Malaysian fashion designer creativity and the elements that provide for creativity enhancement. The scope of this study was based on fashion designers located around the Klang Valley area. A qualitative approach is adopted using semi structured questions

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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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Gursoy, Fatma, and Nurgul Kilinc. "The effects of technical knowledge related to garment production process on fashion designersâ€™ designs." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 628–37. http://dx.doi.org/10.18844/prosoc.v2i1.1001.

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Today, in the fashion sector, which can be regarded as the driving force behind Turkish exports, the need for designs and designers is increasing day by day in parallel with the developments in domestic and foreign markets. The process of production in the fashion sector can be divided into four groups, namely design, planning, production and marketing. The fundamental properties of the product are determined in the design department, which constitutes the basis of the production process. In this study, the purpose was to investigate how effects having or not having technical knowledge related

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Mintorwati, Mintorwati, and Irwan Yudha Hadinata. "ESMOD MODE SCHOOL IN BANJARMASIN." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (2021): 221–31. http://dx.doi.org/10.20527/lanting.v10i1.753.

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The Design of Fashion Schools in Banjarmasin is in the background by the rapid increase of fashion needs. Some potential young designers in Indonesia also show that fashion products in Indonesia have a great potential. However, in South Kalimantan, especially Banjarmasin, does not yet have a Fashion Design high school, it makes the local people who want to become a fashion designer must study outside the island of Kalimantan. With the existence of a fashion school in Banjarmasin, it is expected that Banjarmasin and the surrounding communities who have aspirations to become a Fashion Designer o

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Mintorwati, Mintorwati, and Irwan Yudha Hadinata. "ESMOD MODE SCHOOL IN BANJARMASIN." JURNAL TUGAS AKHIR MAHASISWA LANTING 10, no. 1 (2021): 221–31. http://dx.doi.org/10.20527/jtamlanting.v10i1.753.

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The Design of Fashion Schools in Banjarmasin is in the background by the rapid increase of fashion needs. Some potential young designers in Indonesia also show that fashion products in Indonesia have a great potential. However, in South Kalimantan, especially Banjarmasin, does not yet have a Fashion Design high school, it makes the local people who want to become a fashion designer must study outside the island of Kalimantan. With the existence of a fashion school in Banjarmasin, it is expected that Banjarmasin and the surrounding communities who have aspirations to become a Fashion Designer o

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Shandrenko, Olha, Kateryna Kyselova, and Olena Radchuk. "Artistic Means of Expression in the Clothing Collections of Ukrainian Designers in 2009–2019." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 227–33. https://doi.org/10.31866/2410-1176.44.2021.235439.

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The purpose of the article is to identify and analyse the most characteristic artistic means of expression in the creative works of Ukrainian fashion designers in 2009-2019. Research methodology. The authors of the article apply general scientific research methods of analysis, synthesis, and generalization of artistic means of expression in clothing design. Scientific novelty. The article demonstrates the main silhouettes, the main colour scheme, types of fabrics, types of decoration and trimming, types of accessories inherent in the creative works of Ukrainian fashion designers during 2009-20

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YIYAN, WANG, and NORSAADAH ZAKARIA. "Designers’ potential in sustainable fashion: a systematic literature review." Industria Textila 74, no. 06 (2023): 718–26. http://dx.doi.org/10.35530/it.074.06.2022139.

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Given the unsustainable issues of environmental pollution, resource waste, and industrial cycle blockage, the garment industry, has sought an innovation for sustainable development led by the linear economy. The circular economy (CE) advocates closing and correcting material and energy circuits, minimising resource entry and waste, and improving emissions and energy consumption. Most practices under the existing CE model address the outcome rather than comprehending the source. As one of the most critical players in the apparel industry, designers understand the source of product development.

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Lee, Jee Hyun, Jiwon Ahn, and Jieun Kim. "Theoretical Competence Model of Fashion Designers in Co-Designed Fashion Systems." Fashion Practice 10, no. 3 (2018): 381–404. http://dx.doi.org/10.1080/17569370.2018.1507150.

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Gopura, Sumith, Alice Ruth Payne, Laurie Buys, and Deepthi Chandrika Bandara. "Fashion exposure." Journal of Fashion Marketing and Management: An International Journal 23, no. 4 (2019): 466–86. http://dx.doi.org/10.1108/jfmm-10-2018-0137.

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Purpose Developing countries engaged in apparel value chain are going global, seeking opportunities to upgrade the industry through providing higher value-added products and services. The purpose of this paper is to investigate how Sri Lankan apparel industry designers interact with the western fashion world in the apparel value chain process, and how they acquire, adapt and apply the knowledge needed to develop high-value fashion products in their fashion design practice. Design/methodology/approach The study adopts a qualitative approach through semi-structured interviews conducted with fash

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15

Zou, Chang, Qistina Donna Lee Abdullah, and Marzie Hatef Jalil. "Independent designers and the future of sustainable fashion: A qualitative inquiry." Edelweiss Applied Science and Technology 9, no. 5 (2025): 1021–28. https://doi.org/10.55214/25768484.v9i5.7049.

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This study aims to investigate how independent designer labels incorporate sustainable design methods into their products, thus allowing designers to contribute to the development of sustainable products. The study was conducted through qualitative interviews with eight independent designers in Beijing, China. The results were analyzed thematically to conclude how independent designers incorporate sustainable design methods into their designs and the challenges that independent designers face when practicing sustainable design and dealing with them. This paper explores the relationship between

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Chipambwa, Walter, and Onismo Stephen Hahlani. "Digital fashion and the metaverse: perspectives from the emerging fashion designers in Zimbabwe." Fashion and Textiles Review 6 (May 13, 2025): 84–101. https://doi.org/10.35738/ftr.v6.2025.06.

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Purpose: This study aimed to investigate the experiences of emerging fashion designers in developing digital fashion content and their presence on the virtual spaces referred to as the metaverse. Methodology/Design: The research utilised a qualitative design by conducting five comprehensive interviews with emerging fashion designers and a focus group discussion with conveniently sampled participants. The interview participants were purposively sampled from the final participants who showcased at the exhibition themed Fashion Forward sponsored by the British Council in Harare, Zimbabwe. Each pa

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Vincent, Alyssa. "Breaking the cycle: How slow fashion can inspire sustainable collection development." Art Libraries Journal 42, no. 1 (2016): 7–12. http://dx.doi.org/10.1017/alj.2016.42.

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What do academic librarians and fashion designers have in common? As designers produce a good—clothing—and librarians provide a service, it may seem like the two share no similarities. However, in recent years, both professions have been asked to do more with less. Designers are tasked with churning out clothing collections at a record rate while academic librarians have had to maintain and in some cases increase their level of service in the face of steadily decreasing budgets. One response to this relentless cycle in the fashion world is the development of slow fashion, a designer-oriented p

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18

Shen, Lei, and Muhammad Hussnain Sethi. "Sustainable Fashion and Young Fashion Designers: Are Fashion Schools Teaching Sustainability?" Fibres and Textiles in Eastern Europe 29, no. 5(149) (2021): 9–13. http://dx.doi.org/10.5604/01.3001.0014.8036.

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The fashion Industry is one of the major polluting industries globally, and it has become a hot topic of debate. Thousands of people participate in climate change marches and attend seminars worldwide, but sadly most of them usually wear fast fashion products due to the lack of awareness. This pilot research investigates how well freshly graduated fashion designers know sustainable textiles and fashion as fashion designers are the ones who lead the fashion industry. We used a qualitative research method, and focus group discussion was applied for data collection. Twenty-four freshly graduated

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19

Sun, Chenhao, and Jisoo Ha. "Fashion Designers and National Identity: A Comparative Empirical Analysis of Chinese and Korean Fashion Designers." Asian Culture and History 11, no. 2 (2019): 75. http://dx.doi.org/10.5539/ach.v11n2p75.

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The purpose of this study is to observe the similarities and differences between contemporary Chinese and Korean fashion designers in understanding the concept of national identity. To achieve this objective, the literature review and in-depth interview were conducted. The results are as follows: Firstly, the model that interprets the influence factors of designers&rsquo; awareness of national identity was built. Under the social background of national identity, including governmental role, features of culture, openness of social system and the international and economic status, features o

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20

Schiavone, Scott William. "Re-defining a decade: Marc Jacobs, Tony Viramontes and the vocabulary of 1980s fashion." Fashion, Style & Popular Culture 7, no. 4 (2020): 407–20. http://dx.doi.org/10.1386/fspc_00036_1.

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Historian James Laver described the cyclical nature of fashion as taking almost 50 years for a particular style or decade to be remembered as romantic. The 1980s are often overlooked by fashion historians as garish or vulgar, best left to the confines of history. During the global financial crisis of 2007‐08, direct quotations from the 1980s and television show Dynasty (1981‐89) appeared on the catwalks of major designers. An interest in the decade of greed and excess was revived in a time of economic austerity: were we dressing up to cover up our financial shortcomings? Fashion is yet again i

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21

Ambala, Mounika, Manasa Manvitha Mukka, Shalima Shaik, and Anil Jajula. "Development of e-Commerce Website for Young Dream Designers (URS Fashions)." Recent Trends in Cloud Computing and Web Engineering 5, no. 2 (2023): 29–38. https://doi.org/10.5281/zenodo.7919648.

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<em>This e-commerce fashion website is designed to promote and support up-and-coming fashion designers and artists. The website offers a platform for emerging talent to showcase their unique designs and sell their products directly to customers. Customers can browse through a wide range of products, including clothing, accessories, and artwork, and have the opportunity to discover and purchase one-of-a-kind items from new and exciting designers. The website also provides a space for designers to share their stories and inspirations, and for customers to learn about the creative process behind

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Osei, Elsie Rebecca, and Francisca Emelda Seiwaa Bosro. "Digital Strategies for Sustainable Fashion: Insights from Emerging Ghanaian Fashion Designers." Fashion and Textiles Review 5 (December 30, 2024): 3–21. https://doi.org/10.35738/ftr.v5.2024.11.

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Purpose: This study explores the use of social media marketing by emerging fashion designers in Ghana, with a focus on how they leverage these platforms to promote sustainability in their designs. The research aims to understand the effectiveness of social media tools in building brand identity, fostering customer relationships, and expanding global reach for designers in Ghana’s growing fashion industry. Methodology/Design: The study employed a qualitative, phenomenology approach by conducting in-depth interviews with 52 emerging fashion designers based in Accra and Kumasi. The sample selecti

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Faerm, Steven. "Evolving ‘places’: The paradigmatic shift in the role of the fashion designer." Fashion, Style & Popular Culture 8, no. 4 (2021): 399–417. http://dx.doi.org/10.1386/fspc_00099_1.

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This study examines the concept of ‘place’ in the design process and the evolving role of the fashion designer. The contemporary fashion marketplace has reached unprecedented levels of abundance. This is altering society’s relationship with design. Consumers’ basic needs are being over-met and have moved well beyond the material realm; consumers are increasingly driven by their search for meaning and emotional fulfilment through design. The result of this process is the altering of their perception of design ‘value’ from the tangible to the intangible. While the traditional values of aesthetic

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Jocić, Sonja. "Sustainability in fashion: Past creativity as an inspiration for the future." Tekstilna industrija 70, no. 2 (2022): 28–39. http://dx.doi.org/10.5937/tekstind2202028j.

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Even before the emergence of the fashion sustainability movement, some European and Japanese fashion designers were active in inventing new creative principles. Key examples of such designers are: Martin Margiela, Rei Kawakubo, Yohji Yamamoto and Issey Miyake. They have created a completely new, different and personal style in fashion, as a consequence of exceptional aesthetic creativity. With their ingenious creativity and by pushing the boundaries in fashion design and artistic creation, they managed to create a basis for the development of modern sustainable fashion. Among the creative-expe

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Seleznova, Anna. "Recent Trends in the Development of Fashion-illustration in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 17–26. https://doi.org/10.31866/2410-1176.43.2020.220059.

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The purpose of the article is to investigate recent trends in the development of fashion illustrations based on the analysis of the work of famous Ukrainian illustrator designers; to determine the main artistic techniques, graphic means and composition techniques used by modern illustrator designers; and to establish the application fields of these illustrations in the fashion industry. Research methodology. As materials for the article, we used fashion illustrations presented in print fashion publications Vogue, Vanity Fair, InStyle, Harper’s Bazaar and Internet sources that were posted

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Nwaozuru, Daniel, Chiamaka A. Chukwuone, Rachael A. Wonah, and Mellah E. Uzoamaka. "Perceived Entrepreneurial Sustainability and Financial Stability Among Fashion Designers in Abia State, Nigeria." International Journal of Home Economics, Hospitality and Allied Research 3, no. 1 (2024): 378–93. http://dx.doi.org/10.57012/ijhhr.v3n1.029.

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This research explore factors influencing entrepreneurial sustainability and financial stability within the context of the fashion industry, with a focus on the perceptions of fashion designers in Abia State. Descriptive survey methods were employed to provide a comprehensive understanding of the subject matter. The total population for the study was 487, which comprises all registered fashion designers operating in Aba, hence the whole population was used for the study. The study was carried out in Aba which is one of the major fashion hubs in Abia State. Data was collected through structured

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Luneva, Irina. "Problems of style in modern fashion art on the example of Ianis Chamalidy's creativity." European Scientific e-Journal 1, no. 1 (2020): 47–66. https://doi.org/10.47451/art2020-08-002.

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The article is devoted to the problems of modern Russian fashion on the example of the creative work of St Petersburg designer Ianis Chamalidi. Who is now a prominent participant in the modern art process in the field of fashion? Many magazine articles have been written about the work of this famous St Petersburg designer. Ianis Chamalidi is actively involved in creative projects. He cooperates with the State Hermitage Museum, where many of his works are kept in the collection. The author concludes that St. Petersburg designers are in a situation where they have to compete not only with repres

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Motta, Martina, and Giovanni Maria Conti. "Invisible Fashion." Fashion Highlight, SI1 (July 14, 2025): 314–22. https://doi.org/10.36253/fh-3079.

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As fashion and design researchers, we have embraced a human-centered design approach that emphasizes the relationship between people and objects as functional tools. Yet, fashion goes beyond utility; it embodies frivolity, playfulness, and social communication, often conveyed implicitly through garments. This article envisions a future where our engagement with fashion transcends mere appearance, highlighting research involving fashion designers collaborating with blind individuals to understand their relationship with clothing. Using ethnographic studies and qualitative interviews, the resear

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Másdóttir, Vigdís Þóra. "Fashion and Neoliberalism: How Self-commodification Becomes Integral to the Entrepreneurial Ethical Fashion Designer." Journal of Extreme Anthropology 1, no. 2 (2017): 54–58. http://dx.doi.org/10.5617/jea.4899.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay discusses the challenges faced by fashion designers within the contemporary neoliberal fashion and art market, in particular the neccessity to self-commodify and brand oneself if one wishes to succeed. The article builds also on interviews with the New York based fashion designer Arna Lísa.

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Gursoy, Fatma, and Nurgul Kilinc. "The effects of technical knowledge related to garment production process on fashion designers’ designs." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 628–37. http://dx.doi.org/10.18844/gjhss.v2i1.1001.

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Mohamad, Zolina, Norzaleha Zainun, and Suriati Saidan. "Intelligent Wearable: Early Designers." Idealogy Journal 5, no. 2 (2020): 179–84. http://dx.doi.org/10.24191/idealogy.v5i2.240.

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It is an overview of the significant landmark in techno fashion landscape. Although the narrative would be on electronic and digital technology in fashion, writer is keen on specifying it on intelligent wearable and the pioneering designers who made the ground-breaking debuts. Intelligent wearable is one of many prominent constituents in techno fashion diaspora. It has a significant role in shaping the future world of contemporary fashion by converging art and science.

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Ali Najim AbdulAllah Al Zubeidi. "Contemporary fashion and its impact on the shape of the sleeves in the traditional Moroccan caftan." Basrah Arts Journal, no. 26 (August 30, 2023): 71–84. http://dx.doi.org/10.59767/2023.8/26.6.

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The Moroccan caftan has recently occupied a large space among contemporary designers because of its great aesthetic impact in terms of shape and decoration, as well as the cultural heritage of the Arab peoples. For international designers in America, Europe and East Asia, in our research, a set of images of the traditional and contemporary caftan was used, which were analyzed visually to know the quality and size of the change that occurred in the shape of the traditional sleeve as a result of its influence on modeling and the designer's vision. In addition, the basic measurements of the sleev

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Mateus Felippe, Alessandro, Sandra Regina Rech, Icleia Silveira, and Lucas Da Rosa. "Fashion lab as a factor of innovation in fashion authoring design." Modapalavra e-periódico 13, no. 30 (2020): 40–69. http://dx.doi.org/10.5965/1982615x13302020040.

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The post-industrial revolution transformations continue to echo in our society, allowing advances in the area of technology, production, and consumption of products in different segments, especially fashion. In view of this, this article proposes to understand, in an initial and conceptual way, the use of space Fashion lab by fashion designer designers. It is considered that the use of this laboratory can qualify the innovation process during the production of new products. In this work, the basic research was used with a descriptive qualitative approach and the theoretical foundation contempl

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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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Mefful, Ophelia, Sheila Clottey, and Laura Kattah. "From Studio to Runway: Ghanaian Fashion Designers' Creative Processes." International Journal of Fashion and Design 3, no. 2 (2024): 1–14. http://dx.doi.org/10.47604/ijfd.2582.

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Purpose: The fashion scene in Ghana is a dynamic fabric knit together with creative designs. We explore the inspirations and creative processes of Ghanaian fashion designers as they get from studio to catwalk. The objective of the study is to investigate and clarify the inspirations and creative processes that propel Ghanaian fashion designers from ideation to catwalk presentation. Methodology: The paradigm used was a qualitative research approach. This includes observations, interviews, and portfolio analysis of fifteen (15) selected fashion designers in Sekondi Takoradi Metropolis. The colle

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Ye, Minhee, and Eun-Hyuk Yim. "Persona Marketing of Fashion Designers." Journal of the Korean society of clothing and textiles 39, no. 3 (2015): 446. http://dx.doi.org/10.5850/jksct.2015.39.3.446.

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Malem, Wendy. "Fashion designers as business: London." Journal of Fashion Marketing and Management: An International Journal 12, no. 3 (2008): 398–414. http://dx.doi.org/10.1108/13612020810889335.

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Payne, Alice. "Inspiration sources for Australian fast fashion design: tapping into consumer desire." Journal of Fashion Marketing and Management 20, no. 2 (2016): 191–207. http://dx.doi.org/10.1108/jfmm-12-2014-0092.

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Purpose – The purpose of this paper is to identify both the inspiration sources used by fast fashion designers and ways the designers sort information from the sources during the product development process. Design/methodology/approach – This is a qualitative study, drawing on semi-structured interviews conducted with the members of the in-house design teams of three Australian fast fashion companies. Findings – Australian fast fashion designers rely on a combination of trend data, sales data, product analysis, and travel for design development ideas. The designers then use the consensus and e

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Jiang, Jianan, Di Wu, Hanhui Deng, et al. "HAIGEN: Towards Human-AI Collaboration for Facilitating Creativity and Style Generation in Fashion Design." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 8, no. 3 (2024): 1–27. http://dx.doi.org/10.1145/3678518.

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The process of fashion design usually involves sketching, refining, and coloring, with designers drawing inspiration from various images to fuel their creative endeavors. However, conventional image search methods often yield irrelevant results, impeding the design process. Moreover, creating and coloring sketches can be time-consuming and demanding, acting as a bottleneck in the design workflow. In this work, we introduce HAIGEN (Human-AI Collaboration for GENeration), an efficient fashion design system for Human-AI collaboration developed to aid designers. Specifically, HAIGEN consists of fo

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Wang, Dong Mei. "Fabrics Re-Creation and Fashion Design." Advanced Materials Research 821-822 (September 2013): 721–25. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.721.

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Excellent fashion designers express their design originality beginning from the design of fabric fiber. Nowadays, the clothing materials existing on the market can not meet the requirements of designers' creativity.So this leads to fabrics re-creation. This thesis analysed various methods of current major fabric recreation,which can broad the design perspectives of the designers and convey the design concept better.

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Van Kan, Fred. "PRESERVING DUTCH FASHION ARCHIVES. THE FASHION NETWORK ARNHEM." História: Questões & Debates 65, no. 2 (2017): 223. http://dx.doi.org/10.5380/his.v65i2.55397.

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Em 2011, o Museu de Arte Moderna de Arnhem, o Instituto de Artes ArtEz e o Arquivo de Gelders uniram forças para preservar os arquivos da moda holandesa moderna. Eles estabeleceram o Modekern, uma rede na qual cada parceiro tem uma responsabilidade especial. O Arquivo de Gelders reúne os registros de importantes designers de moda holandeses, incluindo esboços, experimentos com tecido e portfólios. A academia de moda da ArtEz usa esses registros para pesquisa e educação. Designers e estudantes podem examniar esses arquivos de moda, se inspirar e usá-los para o seu próprio desenvolvimento. O Mus

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Yetmen, Gozde. "WEARABLE TECHNOLOGY: FASHION DESIGNERS BRINGS TOGETHER FASHION WITH SCIENCE." Ulakbilge Dergisi 5, no. 9 (2017): 275–89. http://dx.doi.org/10.7816/ulakbilge-05-09-13.

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Hasna Nur Azizah, Syifa', Tri Adinda, Annisa Fadillasari, et al. "What's That? Communicating Veganism through Absurd Fashion." COMSERVA : Jurnal Penelitian dan Pengabdian Masyarakat 4, no. 4 (2024): 989–1001. http://dx.doi.org/10.59141/comserva.v4i4.1419.

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This research explores the communication dynamics in absurd fashion, focusing on the sender-receiver model through Instagram captions and designs. Findings reveal that absurd fashion predominantly communicates through the sender-receiver model, where designers convey messages or critiques through their creations, and consumers interpret them accordingly. The axis of communication in absurd fashion revolves around issues such as, vegetables, and health, reflecting critiques, awareness campaigns, and shifts towards sustainability. Innovative material use, such as vegetables, fruits, and eco-frie

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AMEKO Rosemary Enyonam and ABOAGYEWAA-NTIRI Josephine. "ANALYSING THE EMERGING PRODUCTION TECHNOLOGIES IN CLOTHING INDUSTRY: PERCEPTION OF FASHION DESIGNERS WITHIN ADENTA MUNICIPALITY, GHANA." Nigeria Journal of Home Economics (ISSN: 2782-8131) 12, no. 9 (2024): 137–46. http://dx.doi.org/10.61868/njhe.v12i9.290.

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This paper aims to investigate the emerging production technologies in clothing production in Ghana and the awareness and usage by fashion designers. The research was based on quantitative and studio-based approaches, which employed questionnaires and observation for data collection. The population comprises 120 fashion designers who have their workshops within Adenta. The results indicated that the emerging production technologies in the clothing industry were ranked, and Computer-aided design (CAD) represented first (1st), Automated inspection (AIN) ranked second (2nd) and Automated material

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Almond, Kevin, and Caroline Riches. "Gerald McCann: The Rediscovery of a Fashion Designer." Costume 52, no. 1 (2018): 97–122. http://dx.doi.org/10.3366/cost.2018.0049.

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This article was prompted by the discovery of the archive of international fashion designer Gerald McCann, hidden in a garage in Fleetwood, Lancashire, UK. The contents of the archive revealed a treasure trove of press cuttings, photographs, fashion drawings and interviews as well as designs and costings from a once well-known designer, whose significance to the global fashion industry is sparsely documented and largely forgotten. The article reveals the history of the designer, who graduated from the Royal College of Art in London in the 1950s, during the tenure of Professor Madge Garland, an

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Dykhnych, Liudmyla. "The Backstage Creative Process as a Practice of Fashion Design." Bulletin of KNUKiM. Series in Arts, no. 48 (June 24, 2023): 162–72. https://doi.org/10.31866/2410-1176.48.2023.282480.

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The aim of the article is to analyse the functions of backstage participants in embodying the designer’s creative concept and the features of highlighting the creative process in the information and media space. Results. An analysis of the backstage creative process is presented, its time peculiarity is highlighted and analysed. The functions performed by backstage participants such as project manager or show producer, media group or PR manager, photographer, designer, stylist, beauty stylist (hairstylist and makeup artist), and model are clarified and identified. After analysi

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Jain, Saina, Marshal Sahni, and Sandeep Kumar. "Sustainable and environmental friendly production practices among the Indian apparel designers." Journal of Statistics and Management Systems 26, no. 5 (2023): 1185–93. http://dx.doi.org/10.47974/jsms-1171.

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This study’s goal is to ascertain the methods used by various fashion designer’s about environmental friendly, sustainability and incorporates it into their design and production practices, as apparel industry is the world’s second most polluted industry(WEF, Jan 2020).The following research questions serve as a framework for the study: (1) Is there a substantial difference between environmentally friendly, sustainability and production practices in apparel industry and to propose an environment friendly strategic framework for the apparel industry,(2)what is the extent of current designer’s e

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Tahalele, Yoanita Kartika Sari. "The Significant of Fashion Ethics Education on Young Fashion Designers and Entrepreneurs." Humaniora 11, no. 2 (2020): 145–50. http://dx.doi.org/10.21512/humaniora.v11i2.6503.

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The research aimed to examine the relationship and understand the significance of ethical fashion education to young fashion designers and entrepreneurs’ value systems and ethical behavior. The research applied a descriptive qualitative method based on focus group discussion using purposive sampling. Data were collected from six young fashion designers and entrepreneurs, who graduated from Fashion Design and Business at Universitas Ciputra Surabaya and had ever attended Fashion Ethics class on their seventh semester. The research result shows that Fashion Ethics education is important and give

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Dai, Xin, Pui-Sze Chow, Jin-Hui Zheng, and Chun-Hung Chiu. "Crowdsourcing New Product Design on the Web: An Analysis of Online Designer Platform Service." Mathematical Problems in Engineering 2013 (2013): 1–13. http://dx.doi.org/10.1155/2013/248170.

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A designer is a core resource in the fashion industry. Successful designers need to be creative and quick to understand the business and wider environment in which they are operating. TheDesigner Platform Service(DPS), which combines the mechanism of crowdsourcing and group buying on the web, provides a platform for entrant designers to try their abilities in the real market practice. Freelance designers post design samples or sketches of products on the website of DPS, and consumers may preorder the products (each at a fixed price) online based on the design information. Once the number of or

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Bhalla, Sunil, Nurhidayah Bahar, and Kanagi Kanapathy. "Knowledge Collaboration Among Fashion Designers: An A Priori Conceptual Model." Electronic Journal of Knowledge Management 21, no. 3 (2023): 191–210. http://dx.doi.org/10.34190/ejkm.21.3.2928.

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Whilst collaboration from the branding and marketing perspective for the fashion industry is well documented, little is known about the knowledge collaboration (KC) of fashion designers, and how information and communication technology (ICT) is involved within their Communities of Practice (CoPs). This paper proposes an a priori conceptual model to enable the examination of KC among fashion designers within their CoPs. It aims to interlink the concepts of KC, CoPs, and ICT to understand fashion designers in their social learning reality. In that regard, the a priori conceptual model addresses

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