Journal articles: 'Fashion project'

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Vibert-Stokes, Leila. "Fashion Descience project." Lancet Oncology 16, no. 1 (January 2015): 23–24. http://dx.doi.org/10.1016/s1470-2045(14)71211-2.

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Roberts, Graham H. "Queering the stitch: Fashion, masculinity and the postsocialist subject." Critical Studies in Men???s Fashion 6, no. 1 (September 1, 2019): 59–80. http://dx.doi.org/10.1386/csmf_00005_1.

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In my article, I analyse some of the ways in which Gosha Rubchinskiy, Demna Gvasalia and Lotta Volkova might be said to ‘queer’ masculinity. I draw parallels between their work and the modernist, utopian, Constructivist project of Soviet fashion designers of the 1920s such as Varvara Stepanova and Lyubov’ Popova. Most importantly, both groups of artists share a desire to organize their fashion practice within a broader ideological project. At the heart of their respective projects is a fundamental challenge to conventional notions of gender in fashion, and in the fashion industry. In both cases, the ‘queering’ of gender norms, distinctions and hierarchies, both on and off the catwalk, is designed to produce a radical transformation of the relationship between the fashioned object and the fashionable, consuming subject. As far as today’s post-Soviet fashion designers are concerned, by the way in which they either queer masculinity or perform their own, queer brand of masculinity, they produce a new, utopian subject. Far from being the antithesis of the Constructivist project, then, this post-socialist utopian body can be seen as constituting perhaps its most spectacular realization to date.

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Orzada, Belinda T., and Kelly Cobb. "Ethical fashion project: partnering with industry." International Journal of Fashion Design, Technology and Education 4, no. 3 (November 2011): 173–85. http://dx.doi.org/10.1080/17543266.2011.606233.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. "ObjectVR Fashion: The Drexel Digital Museum Project." Archiving Conference 2019, no. 1 (May 14, 2019): 61–65. http://dx.doi.org/10.2352/issn.2168-3204.2019.1.0.14.

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Sanches, Maria Celeste de F., Bernabé Hernandis Ortuño, and Sérgio R. Moreira Martins. "Fashion Design: The Project of the Intangible." Procedia Manufacturing 3 (2015): 2311–17. http://dx.doi.org/10.1016/j.promfg.2015.07.377.

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Kim, Sun Young. "Fashion Communications in Miu Miu’s Short Film Project." KOREA SCIENCE & ART FORUM 35 (September 30, 2018): 41–58. http://dx.doi.org/10.17548/ksaf.2018.09.30.41.

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ÇİNİ, Çiğdem Asuman. "An upcycling project in textile and fashion design." Research Journal of the Costume Culture 27, no. 1 (February 28, 2019): 11–19. http://dx.doi.org/10.29049/rjcc.2019.27.1.011.

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Wollen, P. "The Concept of Fashion in The Arcades Project." boundary 2 30, no. 1 (March 1, 2003): 131–42. http://dx.doi.org/10.1215/01903659-30-1-131.

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장라윤 and Yang Sook-Hi. "Fashion Communication and Exhibition Project- Focused on Fashion Exhibition Design by Maison Martin Margiela -." Research Journal of the Costume Culture 19, no. 6 (December 2011): 1302–19. http://dx.doi.org/10.29049/rjcc.2011.19.6.1302.

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Ma, Jin Joo. "Fashion Installation as a Medium of Fashion Communication : Based on Quantum Project by Gentle Monster." Journal of the Korean Society of Costume 69, no. 3 (April 30, 2019): 33–46. http://dx.doi.org/10.7233/jksc.2019.69.3.033.

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Idacavage, Sara, and Jeanne Swadosh. "Case study on cataloguing fashion adaptations." Art Libraries Journal 42, no. 1 (December 15, 2016): 35–40. http://dx.doi.org/10.1017/alj.2016.45.

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The Herbert Sondheim, Inc. scrapbooks in the New School Archives and Special Collections document the activities of a notable early to mid-20th-century New York-based manufacturer of ready-to-wear women's fashions. A precursor to the contemporary fast fashion industry, Sondheim's employees sketched and kept detailed notes on materials and construction of garments produced by Parisian designers, which the firm then adapted into more affordable and easily obtainable apparel for American consumers. A retrospective visual materials cataloguing project resulting from a graduate student's interest in the collection led to the online availability of over 1200 sketches of fashion adaptations and challenged archives staff to develop appropriate descriptive metadata for a fragmented, ambiguous and complex documentary record.

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Suls, Dieter. "Europeana Fashion: Past, present and future." Art Libraries Journal 42, no. 3 (June 2, 2017): 123–29. http://dx.doi.org/10.1017/alj.2017.18.

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The subject of this article is Europeana Fashion, an EU-funded initiative that deals with the aggregation and online dissemination of the digital fashion heritage from the most important European collections. The project started with a consortium consisting of 22 partners from 12 European countries and included the Victoria and Albert Museum (London), Les Arts Décoratifs (Paris), MoMu (Antwerp) and many other museums. Also archives of brands, such as Missoni and Pucci were represented. The main goal of Europeana Fashion was to harvest the digital collections of fashion institutions and to re-present them in a uniform way on a specialized fashion portal. This article outlines the origins of the project, focussing on its main achievements, and offers a look into the future of europeanafashion.eu.

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Carmignani, Gionata, and Francesco Zammori. "Lean thinking in the luxury-fashion market." International Journal of Retail & Distribution Management 43, no. 10/11 (October 6, 2015): 988–1012. http://dx.doi.org/10.1108/ijrdm-07-2014-0093.

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Purpose – The capability to overcome tradeoffs among costs, quality and time has become a must in high-margin businesses too. Lean thinking may be a solution, but applications in the luxury-fashion market are still rare. In order to shed light on this apparent contradiction, the purpose of this paper is to identify the key features of the luxury-fashion market that may act as barriers for the adoption of lean principles. Next, based on the results of this preliminary analysis, the paper tries to verify, if and how, lean principles can be properly reinterpreted, so as to properly fit the requirements of this market. Design/methodology/approach – Due to the operating nature of lean, an empiric approach was followed. From the evidences gathered during a lean project of a world-wide company, critical elements of the luxury-fashion market were identified and used as criteria to select, among lean tools, the most appropriate ones. Lastly, selected tools were integrated in a structured framework (for lean implementation) that was used to analyze and to improve many logistics and manufacturing processes. Findings – Developed solutions were implemented as pilot projects, with outstanding preliminary result. Results are case specific and trying to infer general considerations may be hazardous. Nonetheless, due to the relevant dimension of the project, they can be considered more than a clue concerning the robustness of the framework and, most of all, concerning the real potentialities of lean in the luxury-fashion market. Practical implications – The framework is extremely operational and, together with the proposed industrial cases, can be used as a guideline to support practitioners during the implementation of similar projects. Originality/value – Lean thinking is relatively new in the luxury-fashion market, where the focus on operational costs has been traditionally considered as a marginal issue. Thus, the application of lean principles in this market is the innovative element of the paper.

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Domoszlai-Lantner, Doris, Anna Zsófia Kormos, and Frank New. "Interview: Quarantined, queerantined: But make it fashion." Queer Studies in Media & Popular Culture 5, no. 2-3 (September 1, 2020): 265–79. http://dx.doi.org/10.1386/qsmpc_00040_7.

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During the height of the 2020 COVID-19 pandemic, Doris Domoszlai-Lantner, a New York-based fashion historian and archivist, and Anna Zsófia Kormos, a Budapest-based designer and fashion researcher, created QUARANTINE S/S20: an Instagram-based digital archive that documents garments and ensembles worn during the initial first wave lockdown and the subsequent months. Frank New, a visual merchandiser and stylist, participated in the QUARANTINE S/S20 project, documenting his experiences with fashion and the ways in which it intersects with queerness and the LGBTIQ community throughout the pandemic. Domoszlai-Lantner and Kormos interviewed New to gain a deeper understanding of the themes, questions and issues the New York multihyphenate addressed in his submissions to the project, as well as those he posted about on his social media accounts. In response, New interviewed Domoszlai-Lantner and Kormos to find out more about the project, its goals and milestones, and what they have learned about the fashion system during the first wave of the COVID-19 pandemic.

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Gam, Hae Jin, and Jennifer Banning. "Teaching Sustainability in Fashion Design Courses Through a Zero-Waste Design Project." Clothing and Textiles Research Journal 38, no. 3 (February 21, 2020): 151–65. http://dx.doi.org/10.1177/0887302x20906470.

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With the increased importance of learning about sustainability in fashion design curriculum, this article reports the teaching zero-waste design in existing fashion design courses that teach skills needed to create and construct garments. This study documents the development and delivery of a zero-waste design project in two different levels of fashion design courses. Data were collected before and after the zero-waste design project implementation. By learning about zero-waste design, students’ interest in sustainable living and fashion and consciousness about generating fabric waste was increased. Written comments about student experiences also supported these findings and indicated that the zero-waste design project positively influenced their awareness of sustainability practices.

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Pichou, Myrsini. "The ATOPOS cvc RIPPING Project: A ‘New’ Life for Dress Objects?" Costume 54, no. 2 (September 2020): 242–64. http://dx.doi.org/10.3366/cost.2020.0166.

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This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection.

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Atanacković, Aleksandra. "The Implementation of Agile Project Management in the Fast Fashion Industry." European Project Management Journal 9, no. 1 (2019): 42–51. http://dx.doi.org/10.18485/epmj.2019.9.1.6.

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Quintas Froufe, N. "The 'Galicia Moda' Project: The First Attempt to Launch Galician Fashion." Journal of Design History 23, no. 2 (June 1, 2010): 181–94. http://dx.doi.org/10.1093/jdh/epq002.

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Choi, Kyung-Hee. "Eco-tech fashion project: collaborative design process using problem-based learning." International Journal of Fashion Design, Technology and Education 12, no. 1 (September 24, 2018): 105–17. http://dx.doi.org/10.1080/17543266.2018.1516808.

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Karlina, Nadya, Uswatun Hasanah, and Shinta Doriza. "Development Of Learning Models For Industrial Dressmaking At Fashion Technologi Vocational School." TEKNOBUGA: Jurnal Teknologi Busana dan Boga 8, no. 2 (October 12, 2020): 94–101. http://dx.doi.org/10.15294/teknobuga.v8i2.25471.

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The purpose of the research is to develop a project-based independent learning model in Vocational Fashion Technology. The research and development method uses 10 steps from Borg and Gall. The results of the development Project Based Independent Learning (PBIL) models are accompanied by PBIL learning manuals for educators. The steps of implementing the PBIL model, namely determining the fundamental questions, compiling project planning, preparing a schedule, monitoring students and project progress, analyzing project results and evaluating experience. Learning activities consist of face-to-face, independent learning by Android-based learning media and monitoring by social media. Effectiveness test results indicate , learning by PBIL models, students easier to learn lessons (97%); students helped in solving problems (91%); increase students’ courage to share opinions (85%); support students to work in a team(94%); motivate students to reach achievement (97%); students able to solve post test questions easier than before (97%); motivating students to complete tasks (97%); learning by PBIL model, students is closer to their teacher (97%).

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Крюкова, Наталья, Natalya Kryukova, Вера Бабушкина, and Vera Babushkina. "Developing Modern Trimmings Technologies in the Basis of Conventional Material Decoration Techniques." Services in Russia and abroad 8, no. 1 (January 20, 2014): 95–103. http://dx.doi.org/10.12737/2553.

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The article views the issues of garment decoration in the light of fashion trends. The authors claim that current fashions favour the types of decoration which are a combination of hand decoration and innovative production technologies. The article considers methods of perforation and proposes an algorithm, which is further tested by the authors in a pilot project of developing and producing designer women’s clothing, with trimming done in accordance with an innovative approach to guilloche.

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Eck, Carly, and Hannah Kauffman. "The Screen Archive South East: Non-Fiction Film in Fashion History." Costume 45, no. 1 (March 1, 2011): 75–84. http://dx.doi.org/10.1179/174963011x12978768537618.

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Regional screen archives, including film, video and digital media, protect the local vicinity’s film heritage. Such archives generally fall outside the fashion historian’s consciousness. There is a wealth of information on fiction film and fashion, but non-fiction film remains an underused source. This article examines the Screen Archive South East (SASE) based at the University of Brighton. The archive has a rich collection of amateur and professional non-fiction film from the late nineteenth century to the present day. The archive’s resources inspired a collaborative project between the SASE and the Royal College of Art (RCA) entitled Screen Search Fashion. It investigated dress from the inter-war period, an era that saw significant changes in fashion. The resulting online resource includes film clips, stills, descriptions, contextual information and links to further archival sources. This article iscusses the Screen Search Fashion project and presents three case studies showing how the films at SASE offer a rare glimpse into people’s lives and their clothing choices.

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Robinson, Amy. "From Princess to Punk: Digitisation in the Fashion Studio." International Journal of Digital Curation 9, no. 1 (May 28, 2014): 292–312. http://dx.doi.org/10.2218/ijdc.v9i1.269.

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The Zandra Rhodes Digital Study Collection project was a unique collaborative venture between staff and students at the University for the Creative Arts (UCA) and their Chancellor, the British fashion and textile designer Zandra Rhodes. Working within the designer’s private studio space, this initiative has developed the first digital record of her personal collection of garments and drawings, supported and enriched with behind-the-scenes video interviews and tutorials, for worldwide educational use. This paper examines the benefits and strategies for undertaking the project in situ within the designer’s private studio environment. It outlines the need for a bespoke, flexible approach to digitisation in the visual arts that respects the individuality and creativity of the artist, whilst drawing on established documentation standards and expertise from the library, archive and museum sector.

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Blanchet, Vivien. "‘We make markets’: The role of the Ethical Fashion Show in categorising the ethical fashion." Recherche et Applications en Marketing (English Edition) 32, no. 2 (January 27, 2017): 26–45. http://dx.doi.org/10.1177/2051570716685521.

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Categories participate in the construction of markets by defining their producers, consumers and substitutable goods. Until now, research on categories has mainly focused on their effects, overlooking questions relating to their emergence. This article fills this gap by studying the role of a trade fair, the Ethical Fashion Show, in shaping ethical fashion. Based on a qualitative analysis of interviews, secondary data, observations and physical objects, it studies the practices aimed at elaborating the critical project of ethical fashion, defining its principles and diffusing the category. Four contributions stem from this research. First, it reveals the role of critiques in the emergence of categories. Second, it shows that their content is shaped by practices of purification and hybridisation. Third, it highlights the role of spokespersons in the representation of categories. Fourth, drawing on actor–network theory, it theorises market categorisation as a process of translation.

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Holroyd, Amy Twigger. "From Stitch to Society: A Multi-Level and Participatory Approach to Design Research." Design Issues 33, no. 3 (July 2017): 11–24. http://dx.doi.org/10.1162/desi_a_00448.

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This paper describes a doctoral research project that investigated the theme of openness in fashion, generating insights related to reworking, open design, and the lived experience of homemade clothes. A distinctive, practice-based approach to design research emerged from the project, which uses generative and participatory processes of designing and making to investigate research questions at multiple levels: from micro-scale practical challenges to much broader social issues. This multi-level structure emphasizes the theoretical contribution of the research and the methods used, and could be used to support future design-led research projects.

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Loebbecke, Claudia, and Claudio Huyskens. "A Competitive Perspective on Standard-Making: Kaufhof's RFID Project in Fashion Retailing." Electronic Markets 18, no. 1 (February 2008): 30–38. http://dx.doi.org/10.1080/10196780701797615.

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Fachrunnisa, Rifka, Hadi Suwono, Chokchai Yuenyong, Sukanya Sutaphan, and Napaphan Praipayom. "Eco-friendly fashion: A STEM sandpit project in Indonesian senior high school." Journal of Physics: Conference Series 1835, no. 1 (March 1, 2021): 012046. http://dx.doi.org/10.1088/1742-6596/1835/1/012046.

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Riegels Melchior, Marie, Lise Skov, and Fabian Faurholt Csaba. "Translating Fashion into Danish." Culture Unbound 3, no. 2 (June 14, 2011): 209–28. http://dx.doi.org/10.3384/cu.2000.1525.113209.

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With their association to enterprise and innovation, creative industries have emerged as a legitimate concern in national cultural and economical policy in many countries across the world. In Denmark, the fashion business, in particular, has been hailed as a model for successful (post)industrial transformation. In this paper, we explore the birth of Danish fashion from the ashes of the country’s clothing manufacturing industry, suggesting that the very notion of Danish fashion is indicative of – and enabled by – a development towards a polycentric fashion system. The intriguing idea that fashion could emanate from Denmark and secure growth, jobs and exports even outside the fashion business has taken hold among policymakers, and compelled the government to embrace fashion as a national project. In investigating the emergence and rising stature of Danish fashion, particular at home, we first establish a theoretical frame for understanding the cultural economic policy and the motives, principles and strategies behind it. Then – drawing inspiration from Michel Callon’s “sociology of translation” with its moments of translation: problematization, interessement, enrolment and mobilization – we identify the actors and analyze their strategic roles and interrelationship through various phases of the development of Danish fashion. Callon’s actor network theory (ANT) is based on the principle of “generalized symmetry” – originally using a single repertoire to analyze both society and nature. We adapt this principle to study the realms of market, culture and politics within a common analytical framework. In our analysis, the state responds to industry transformation, interprets it and develops its own agenda. But it can hardly be said to develop policies for the industry. On the contrary, we suggest, fashion is mobilized to lend its luster to the nation, its institutions and politicians.

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Fistrek, Lidija. "FASHION MUSIC AND DESIGN MANAGEMENT IN THE NETWORKED WORLD CASE STUDY; FASHION ART MUSIC AND SCIENCES IN THE SIGNATURE PROJECT." Global Fashion Management Conference 2017 (July 6, 2017): 552. http://dx.doi.org/10.15444/gfmc2017.07.02.06.

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Knifton, Robert. "Life on the Outskirts: Making Sense and use of a Creative Life." Art Libraries Journal 40, no. 3 (2015): 5–10. http://dx.doi.org/10.1017/s0307472200000298.

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Life on the Outskirts is a digital archiving project being undertaken in collaboration between the Helen Storey Foundation and Kingston University. Helen Storey studied Foundation and Fashion at Kingston Polytechnic before her varied career as a fashion designer in Italy and London and as a social artist collaborating with scientists on projects including Primitive Streak, Catalytic Clothing and Wonderland. Robert Knifton uses his work with the Helen Storey Foundation to discuss key issues around digital archiving such as ‘born digital’ artefacts, digital barriers to materiality and ritualized material encounters in the archive, multivocality of digital archival artefacts, and the educational uses of the digital archive, and the great potential of the performative digital archive space.

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Yeo, Pearline. "Exhibiting Transformative Fashion: Digital Interventions to Enhance Display and Interpretation." Costume 55, no. 1 (March 2021): 97–120. http://dx.doi.org/10.3366/cost.2021.0184.

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While the issues of displaying fashion in motion in museum exhibitions have been addressed with various interventions to animate displays, the challenge of successfully presenting transformative fashion in exhibitions has received less attention. With more contemporary designers creating conceptual fashion that is transformative and technological in nature, this article discusses a research project that proposes a series of digital interventions to best display these garments. With the use of digital technology in fashion exhibitions becoming commonplace, this article aims to explore this application and the ways in which it can be used to greater effect to enhance the performance of transformation in the presentation of fashion. The use of digital technology to improve and advance opportunities for inclusivity and accessibility in reading fashion in exhibitions will also be demonstrated.

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Marcus, Jaclyn. "Review: Diversity NOW! Fashion & Race with Kimberly Jenkins." Fashion Studies 1, no. 2 (2019): 1–9. http://dx.doi.org/10.38055/fs010203.

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The following article is a review of the 2018 Diversity Now! Lecture, entitled “Unleash the Power of Fashion to Challenge Racism,” led by Kimberly Jenkins and held by Ryerson University’s Centre for Fashion Diversity and Social Change. Jenkins is a lecturer at Parsons University, where she first created and continues to teach her undergraduate course “Fashion and Race,” is a Visiting Assistant Professor at Pratt Institute, and a curator, anthropologist, and art historian. Jenkins is also the creator of the online digital humanities project entitled The Fashion and Race Database as well as co-constructing and presenting a lecture and workshop series known as “Fashion and Justice,” among involvement in many other groups, activities, and media that help to further representation and diversity in fashion education, research, and the fashion industry. The review covers Part 1 and Part 2 of her lecture, “Fashion and Race” and a visual analysis exercise, “The Power of Representation.”

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Adhitia, Tiara Sekar, M. Kholid Arif Rozaq, and M. Fajar Apriyanto. "Pin Up Style dalam Fotografi Fashion Kontemporer." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 61–72. http://dx.doi.org/10.24821/specta.v3i1.3123.

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Fashion becomes a social symbol that gives the cultural identity to a person. Pin up style has existed since the late 1950s. This style which is a combination of urban style and pop culture is identical with a light, tight, and semi-open dress. The image sticking on pin up style fashion makes the women called as "teasing ladies". The chosen genre is contemporary fashion photography that is a genre in photography which aims to show the clothes and other fashion items influenced by the impact of modernization.The result of this final assignment project is a series of fashion photography which uses the fashion style of 1950s that is pin up style. In every visualization of the creation of this photographic work, it aims to present the story based on the ideas and the concepts as well as to introduce the type of pin up style for each photograph. The background, the property, the make up, the hair style, as well as the surrounding objects are used to support the story in the resulted photographs. Keywords: pin up style, fashion, contemporary fashion photography

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Durá-Gil, Juan V., Alfredo Ballester-Fernández, Marco Cavallaro, Andrea Chiodi, Andrea Ballarino, Carlo Brondi, Volkmar von Arnim, and Dieter Stellmach. "New technologies for customizing products for people with special necessities: project FASHION-ABLE." International Journal of Computer Integrated Manufacturing 30, no. 7 (February 22, 2016): 724–37. http://dx.doi.org/10.1080/0951192x.2016.1145803.

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Chuprina, N. V., and M. V. Kolosnichenko. "SUBSTANTIATION OF THE FASHION SYSTEM AS THE CONCEPT OF FASHION CONDUCT IN MODERN CONSUMER SOCIETY." Art and Design, no. 3 (December 11, 2018): 9–20. http://dx.doi.org/10.30857/2617-0272.2018.3.1.

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Determination of the basic principles of formation and distribution of fashion innovations in society in the context of the functioning of the modern fashion system. Characteristics of fashion innovations as objects of the fashion system and means of fashion communication in the modern consumer society. The methods of systematization and actualization of literary-analytical information about the principles and stages of design-activity in the formation and distribution of fashion innovations are used in the paper. Accumulation, systematization and implementation of project information is carried out by studying of specialized professional literature on the design activities of leading design brands. The basic functional categories of the concept of formation and the occurrence of fashion trends in the fashion system are defined and characterized. The description of the main sources of fashion innovations is given, a comparative analysis of the activity of legislators and distributors of fashion objects is conducted, in the context of their role in the formation, introduction and consumption of fashion trends. The principles of mutual influence of the direction of spreading and the speed of the dissemination of fashion innovation in the society of mass consumption are characterized. In the paper, the main factors of the formation of fashion innovations in the system of fashion are formulated and the main functional categories of the fashion system as the integrated concept of fashion conduct in the modern society of consumption are defined. The paper describes the factors of the formation and realization of topical fashion products that are in line with fashion trends. The appropriateness of their adaptation and implementation in the design of fashion clothes of various classes, from prêt-a-porte to mass market as fashion products of the fashion system is substantiated.

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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 “fashion design” 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, etc. The foal of research consists in systematization of sketchy theoretical data on fashion design as a new trend of design. The scientific novelty consists in interpretation of the term “fashion design” and determination of its role within the structure of contemporary design. The conducted research allows identifying close connection of this concept with costume design and graphic design. The presented materials can be used in teaching professional disciplines of “Graphic Fashion Design” and “Project Design” to graphic designers and fashion designers. The research results found application in educational process of future designers in Kemerovo State Institute of Culture.  

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Barry, Ben. "Enclothed Knowledge: The Fashion Show as a Method of Dissemination in Arts-Informed Research." Fashion Studies 1, no. 1 (2018): 1–43. http://dx.doi.org/10.38055/fs010104.

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In this article, I investigate the processes, benefits, and dilemmas of producing a fashion show as a method of dissemination in arts-informed qualitative research. I examine a project that used a fashion show to analyze and represent interview findings about men’s understandings and performances of masculinities. Fashion shows facilitate the dissemination of new qualitative data — what I coin “enclothed knowledge” — that is embodied and inaccessible through static or verbal descriptions. Fashion shows also enable participants to shape knowledge circulation and allow researchers to engage diverse audiences. Despite these benefits, researchers have to be mindful of ethical dilemmas that occur from the absence of anonymity inherent in public performances; therefore, I suggest strategies to mitigate these threats to research ethics. Ultimately, I argue that fashion shows advance social justice because the platform can transform narrow, stereotypical understandings of marginalized identities.

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Кузнецова, І. О. "ОБРАЗОТВОРЧЕ МИСТЕЦТВО ЯК ДЖЕРЕЛО СИСТЕМИ МОДИ." Art and Design, no. 2 (September 24, 2019): 104–9. http://dx.doi.org/10.30857/2617-0272.2019.2.10.

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Characterization and evaluation of the fashion system in the fine arts and its influence on the development of artistic images of different cultural eras. The methods of systematization and updating of literary-analytical information of fine arts are used in the work. The accumulation, systematization and realization of project information were conducted by studying specialized professional literature on the properties of fine art as a source of the fashion system.

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Sherman, Ketzia. "Making Research: An Analysis of Arts-Based Practices in the Academic Process, A Case Study of Methods of Inscription." Fashion Studies 1, no. 1 (2018): 1–40. http://dx.doi.org/10.38055/fs010103.

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Researching within the field of fashion and the body means working very closely with the artistic community including fashion designers, illustrators, and visual artists. Despite this, research on the subject rarely utilizes arts within the research project. This paper aims to analyze a successful application of arts-based research practices within scholarly research. The project in question, Methods of Inscription, utilizes an arts-based research approach to explore the tattoo experience within a Canadian context. The body of work, developed for exhibition, combines primary and secondary research with artistic exploration to visualize the collective experience of tattooed individuals. The ways in which we understand tattooing and body adornment are directly linked within the study of fashion. Both visual art forms change the appearance of the body, consequently effecting one’s interaction with the world around them. The study of both fashion and tattoos can only be achieved through the use of an interdisciplinary research method, which acknowledges both visual outcome and lived experience. This paper will outline the significant writings used to support and analyze arts-based research practices, the methodology used in the creation of Methods of Inscription, as well as an analysis of the created artefacts, and the knowledge that they embody.

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Lin, Shu-Hwa. "Computer Technology." International Journal of Information and Communication Technology Education 7, no. 1 (January 2011): 80–88. http://dx.doi.org/10.4018/jicte.2011010108.

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This paper describes an innovative course wherein students and faculty collaborate to design, manufacture, manage, and sell organic cotton tote bags. Students remained responsible for the project from start to finish. Responsibilities included all aspects of product development from market research and design conceptualization to producing, promoting and selling the finished tote bag embellished with a heat transfer printed department logo. Moreover, the project required students to develop proficiency in multiple specific computer software programs to facilitate the product development process and ongoing management of promoting, distributing and selling the goods. With the development of fashion design and management skills and applications of computer technology, student projects were successfully executed. Based on positive student evaluations and profitable sales, the course was highly rated.

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Ourahmoune, Nacima, and Nil Özçağlar-Toulouse. "Exogamous weddings and fashion in a rising consumer culture: Kabyle minority dynamics of structure and agency." Marketing Theory 12, no. 1 (February 5, 2012): 81–99. http://dx.doi.org/10.1177/1470593111424182.

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This study critically explores the intersection of fashion consumption, gender, and wedding ceremonies in contemporary Algeria. The specific research location offers the opportunity to investigate a Western minority, the Kabyle people, living in an Arabo–Islamic country, which provides a broader spectrum of analysis and enriches understanding of the role of fashion in consumers’ identity project construction. An interpretive analysis of consumer fashion discourses and practices during wedding ceremonies suggests that rising material aspirations play a significant role and reflect marked transformations among the elite. Furthermore, the adoption of previously stigmatized outfits appears to intensify power issues in terms of gender, class, and ethnicity. Unlike in previous research that stresses a will for differentiation and the role of fashion in constructing individual identities, in this study the respondents’ choices are driven mainly by collective narratives.

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Cherdantseva, Inna V., and Anna S. Nikolaenko. "The Importance of Differentiating Between Taste and Fashion in H.-G. Gadamer’s Hermeneutic Project." . Vestnik of Northern (Arctic) Federal University. Series "Humanitarian and Social Sciences", no. 6 (December 10, 2018): 128–34. http://dx.doi.org/10.17238/issn2227-6564.2018.6.128.

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Bian*, Xiangyang, and Linzhen Li. "Collaborations between Older Women of Chinese Ethnic Minority and Fashion Designers: The “Momhandworks” Project." Fashion Practice 13, no. 1 (January 2, 2021): 177–84. http://dx.doi.org/10.1080/17569370.2021.1874103.

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Delgado, Henry Navarro. "The Junction Collection: A site-specific public fashion project as a (conceptual) magazine editorial." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 295–321. http://dx.doi.org/10.1386/fspc_00084_2.

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In the summer of 2018, the author was selected for the Junction Art Residency (JAR) programme, and for three months, he was integrated into the daily life of the Haines Junction village, a rural town in the Kluane region, Yukon. Like the rest of the Yukon, the Haines Junction village includes a sizable community of First Nation residents. To gain a practical understanding on how aboriginal principles and values shape life in Yukon, the author created a series of garments and accessories informed by the nature, histories and peoples of the Kluane region. This critical essay contextualizes the project and discusses the implications of using a magazine editorial as an alternative vehicle to disseminate it. With the direct participation of a diversity of Haines Junction’s residents, the author explored Yukon’s social and cultural complexities by means of integrating fashion design and public art methodologies. Titled The Junction Collection, the site-specific public fashion project incorporated locally available fabrics, traditionally harvested furs and upcycled materials. Throughout the design process, he consulted with indigenous makers, elders and knowledge keepers. Upon completing the series of garments, the author executed a photo shoot featuring Haines Junction’s residents wearing the outfits against the natural setting of the Kluane wilderness. Those images are the central content for the long-format magazine editorial presented and examined here. The critical essay argues that, as a visual narrative, this magazine editorial makes the project more accessible to the general public while effectively translating The Junction Collection’s theme of incorporating indigenous knowledge with contemporary aesthetics.

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Haase, Birgit, and Adelheid Rasche. "Christoph Drecoll: Rediscovering the Viennese Worth." Costume 53, no. 2 (September 2019): 186–206. http://dx.doi.org/10.3366/cost.2019.0120.

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The once illustrious name of the German-born couturier Christoph Drecoll (1851–1939) is nowadays almost forgotten. The information referring to his name and fashion house in fashion encyclopaedias as well as on online sites is limited, vague, inaccurate and partially contradictory. Many of the discrepancies derive from the fact that different companies used the name Drecoll at the same time. This situation has led to misinterpretations of the historical circumstances and to incorrect attributions of existing clothing in costume collections. This article outlines the complex story of the life and work of the fashion designer Christoph Drecoll with crucial new findings, resulting from a joint research project in progress. Based on intensive archival and material culture studies in European and American collections, the case study of Christoph Drecoll not only sheds light on his almost forgotten fashion house, but also illustrates basic economic, aesthetic and social principles in the context of the international fashion business around the turn of the twentieth century.

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Carrillo, Ryner Jose D., and Jose Florencio F. Lapeña. "Can Modified Laryngosternopexy (Laryngoclaviculopexy) Project the Larynx Anteriorly?" Philippine Journal of Otolaryngology-Head and Neck Surgery 33, no. 2 (November 13, 2018): 53–55. http://dx.doi.org/10.32412/pjohns.v33i2.281.

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Laryngosternopexy is a suturing method between the thyroid lamina and sternal ligament in order to relieve tension from the anastomosis when performing segmental resection of the airway. A thick absorbable monofilament suture is passed through thyroid lamina and the interclavicular ligament of the sternum in a figure of eight fashion as described by Castellanos.1,2 In laryngosternopexy, the suture support is ventral to the anastomotic site in the midline. However, this places the “pexy” sutures in the way, making a tracheotomy and second stage decannulation difficult. We describe a modified laryngosternopexy (laryngoclaviculopexy) that can be performed with the “pexy” sutures out of the way to allow access to the trachea, and our initial experience with three patients.

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Kronenfeld, Jennie J., Dorothy Maysey, Joan G. McGee, Jerry Dell Gimarc, Kirby L. Jackson, Steven N. Blair, and Zora Salisbury. "A Public Sector Health Promotion Program." International Quarterly of Community Health Education 7, no. 2 (July 1986): 167–72. http://dx.doi.org/10.2190/xta8-xbq5-ytq5-kb7l.

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The use of a volunteer model in the provision of health promotion programs in the public sector is described based on the experiences of the Carolina Healthstyle Project, originally a health promotion project for state employees in the Columbia, South Carolina metropolitan area and now expanding to all state employees, public school district employees, and, in a more limited fashion, to state government retirees. The revised models for this project may be particularly helpful to other modestly-funded health promotion efforts.

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Vehmas, Kaisa, Anne Raudaskoski, Pirjo Heikkilä, Ali Harlin, and Aino Mensonen. "Consumer attitudes and communication in circular fashion." Journal of Fashion Marketing and Management: An International Journal 22, no. 3 (July 9, 2018): 286–300. http://dx.doi.org/10.1108/jfmm-08-2017-0079.

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Purpose The purpose of this paper is to explore consumers’ views and expectations on circular clothing. This paper also clarifies how the remanufacturing process should be communicated and circular fashion marketed to consumers. Design/methodology/approach The research methodology consisted of consumer interviews, utilising an online innovation platform (Owela) to involve consumers and workshops with project partners and with external stakeholders. Findings Consumers’ interest towards recycling and sustainable solutions has increased. They appreciate the idea of recycling textile waste to produce new clothes; circular products should become “the new normal”. Consumers are asking for more visible and concrete information about circular clothing and how their behaviour has affected the environmental aspects of textile production. The communication should be timed correctly by using multiple communication channels and also paying attention to the shopping experience. In addition, digital services alongside circular clothing could create additional value for consumers. Research limitations/implications In this study, only consumers from Finland were involved. The results might be different in different parts of Europe and especially worldwide. Originality/value This study focusses on circular clothing – an area that has not been studied much before. Also, consumers involved in this study were of a different age compared to most of the previous studies, where the focus has been mainly on young college students.

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Fedosina, Anastasia. "Application of knowledge management on project management in construction." E3S Web of Conferences 135 (2019): 04068. http://dx.doi.org/10.1051/e3sconf/201913504068.

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The modern Russian labor market dictates new requirements for the qualifications of project management managers in the investment and construction sector. The leading job and staff search site, HeadHunter, requires to have a Project Management Institute certificate in every third qualification condition. Foreign standards are actively supplanting “domestic rules of the game”. The relevance of this study is contained in the answer to the question: is the body of knowledge on project management applicable to the modern construction industry or is it just “a fashion trend” of senior management who wants to have the “Project Management Professional” certificate that is in demand abroad? This paper contains an analysis of significant and “linear” investment and construction projects for the Russian Federation on the structural assessment of key indicators: time, content, and money. This triad of constraints is reflected in the project management body of knowledge as being most susceptible to change during the project life cycle. The main idea of the analysis is to look at and evaluate the deviation of the values contained in the design and estimation documentation at the “input”, i.e. at the pre-investment stage, and at the “output”, i.e. at the stage of putting the object into operation.

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Henderson, Andrea. "Passion and Fashion in Joanna Baillie's “Introductory Discourse”." PMLA/Publications of the Modern Language Association of America 112, no. 2 (March 1997): 198–213. http://dx.doi.org/10.2307/463090.

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In the preface to her first volume of plays, the Romantic playwright Joanna Baillie claims that one is naturally driven to classify persons into character types, and she argues that this classification should be based on the passions individuals express rather than the fashions they wear. Despite this anticonsumerist stance, however, Baillie's project is shaped by the logic of late-eighteenth-century consumerism: Baillie conceives of passions as items susceptible to inventory, display, and sale. Her interest in establishing a human taxonomy grounded in ostensibly natural and subtle discriminations of character allies her works with other popular consumer goods of the period, from clothing fashions to studies of physiognomy. Moreover, like the aesthetic of the picturesque, Baillie's aesthetic encodes a peculiarly consumerist form of desire, a desire that can never be satisfied because it aims at acquisition rather than possession. In Baillie, the feelings and desires on which modern subjectivity is founded do not spring from deep within but are formed by, and find their meaning in, the public world of the marketplace.

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Journal articles on the topic 'Fashion project'

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