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Artykuły w czasopismach na temat „Fashion”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Loreck, Hanne. "De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman's Fashion Photographs." Fashion Theory 6, no. 3 (2002): 255–75. http://dx.doi.org/10.2752/136270402790577604.

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Obeera, J. M., Kumar M. S. Arun, and Shweta Mariyappanavar Dr. "Evolution Of Fashion: Ancient Clothes To Modern Fashion." Young Researcher 13, no. 2 (2024): 135–44. https://doi.org/10.5281/zenodo.13764899.

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<em>This research paper explores the evolution of fashion from its early origins to the present day. Initially, fashion was a basic necessity for protection and modesty, using natural materials like animal skins and plant fibres. As societies developed, clothing began to signify social status, as seen in ancient Egypt and Rome, where elaborate garments marked wealth and class. The 19th century saw the rise of haute couture in Paris, marking the beginning of the modern fashion industry with its emphasis on exclusivity and craftsmanship. The 20th century introduced rapid changes influenced by ma

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Guedes, M. G., and A. Buest. "Fashion designer, fashion consumer, fashion learner." IOP Conference Series: Materials Science and Engineering 459 (December 7, 2018): 012043. http://dx.doi.org/10.1088/1757-899x/459/1/012043.

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Freedman, Erin Alexa. "Fashion after Fashion." Fashion Theory 24, no. 1 (2018): 113–20. http://dx.doi.org/10.1080/1362704x.2018.1454754.

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

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

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Sark, Katrina, and Sara Danièle Bélanger-Michaud. "Montreal Chic: Institutions of Fashion—Fashions of Institutions." Fashion Theory 19, no. 3 (2015): 397–416. http://dx.doi.org/10.2752/175174115x14223685749449.

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McQuillan, Vésma Kontere. "Rethinking fashion review with architectural fashion analysis method." International Journal of Fashion Studies 11, no. 1 (2024): 161–80. http://dx.doi.org/10.1386/infs_00110_1.

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Exploring the interplay between fashion and architecture, this article introduces architectural fashion analysis method, an original methodology for analysing fashion shows through an architectural lens. Focusing on the works of Prada and OMA/AMO, the study delves into the narrative power of space in fashion presentations, informed by theories from Roland Barthes and Adrian Forty, as well as the theoretical model of fashion spaces by McQuillan and Hansen. This approach highlights the underexplored but crucial role of architectural thinking in fashion critique. The article posits that employing

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

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

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Sangeetha, N., T. Balaji, and V. Sri Ram. "Circular Fashion: Utilizing Textile Waste for Sustainable Fashion." International Journal of Research Publication and Reviews 6, no. 3 (2025): 3802–4. https://doi.org/10.55248/gengpi.6.0325.11149.

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Lasaiba, Mohammad Amin. "Eco-Fashion: An Eco-Friendly Lifestyle Trend." Lani: Jurnal Kajian Ilmu Sejarah dan Budaya 4, no. 2 (2024): 130–37. http://dx.doi.org/10.30598/lanivol4iss2page130-137.

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This research examines the phenomenon of eco-fashion as an eco-friendly lifestyle trend and its impact on the fashion industry and consumer behaviour. With a desk research method, this study analyzes literature from various relevant academic sources, including journals, books, and industry reports, to understand eco-fashion's development and challenges. The results show that eco-fashion has become essential in the global effort to create a more sustainable fashion industry, driven by increasing consumer awareness of conventional fashion's environmental and social impacts. Despite challenges su

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11

Joung, Hyun-Mee. "Fast-fashion consumers’ post-purchase behaviours." International Journal of Retail & Distribution Management 42, no. 8 (2014): 688–97. http://dx.doi.org/10.1108/ijrdm-03-2013-0055.

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Purpose – The purpose of this paper is to explore fast-fashion consumers’ post-purchase behaviours and examine relationships among fast-fashion purchase, disposing, hoarding, participation in recycling, and environmental attitudes. Design/methodology/approach – A survey questionnaire was developed and a total of 335 college students completed it in a classroom setting. Of the data collected, 274 students who purchased fast-fashions were used for this study. Descriptive statistics were used to summarize the data and Pearson correlations were conducted to examine relationships among the variable

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12

Ellermann, Marissa. "Book Review: Clothing and Fashion: American Fashion from Head to Toe." Reference & User Services Quarterly 56, no. 1 (2016): 57. http://dx.doi.org/10.5860/rusq.56n1.57a.

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Clothing and Fashion: American Fashion from Head to Toe is a comprehensive, four-volume, encyclopedic reference guide with more than eight hundred entries that cover American fashions and style from the year 1600 to present day. Organized chronologically as a whole, each volume covers specific eras and provides a historical overview of the eras included.

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13

Kaiser, Susan B., and Anneke Smelik. "Encounters: Fashion and beauty, fashion and art, fashion and social justice." Critical Studies in Fashion & Beauty 13, no. 2 (2022): 199–206. http://dx.doi.org/10.1386/csfb_00045_2.

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We propose a thought experiment to introduce the three articles in this volume, focusing specifically on fashion’s encounters with beauty, art and social justice, respectively. Using a both/and approach, we consider the ways in which ‘encounters’ encourage open questioning and debate, when one pairs fashion with beauty, fashion with art and fashion with social justice. Rather than framing the concepts in these pairs oppositionally, we argue that encounters become possible because they resonate or echo – conceptually, aesthetically or affectively – in ways that are nonbinary and nonlinear. As a

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14

Lin, Shih-Ying. "Democracy in female fast-fashion: A case study in Taiwan." East Asian Journal of Popular Culture 7, no. 1 (2021): 27–41. http://dx.doi.org/10.1386/eapc_00037_1.

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This article investigates the influences of fast-fashion on the dynamic performance of dressed bodies of female consumers aged 18–45 in Taiwan, the demographic that most enjoys buying fast-fashion clothing. It analyses the types of fashion democracy that fast-fashions provide Taiwanese female consumers. This article also proposes an alternative qualitative research method and concept that allows researchers to investigate the intricate relationships between clothing, the body and society by reviewing the interactive relationship between clothing patterns and wearers’ bodies. Findings show that

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15

Arjana, Sophia Rose. "Islamic Fashion and Anti-Fashion." American Journal of Islam and Society 32, no. 2 (2015): 104–7. http://dx.doi.org/10.35632/ajis.v32i2.973.

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This volume of scholarship surrounding Islamic fashion presents a counternarrativeto a dominant story: that Muslim women in the West are subjugatedby the oppressive and patriarchal yoke of Islam. Islamic Fashion and Anti-Fashion: New Perspectives from Europe and North America offers a freshnew look at veiling, its intersection with religious piety, family, community,religious authority, fashion, and commoditization through sixteen distinct stud-104 The American Journal of Islamic Social Sciences 32:2ies ranging from clothing items like the burqini and the pardosu to larger issuessurrounding id

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16

Ayres, Jennifer. "A Fashion Exhibit Without Fashion." Fashion Studies 1, no. 1 (2018): 1–35. http://dx.doi.org/10.38055/fs010114.

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In this review, I critically examine the fashion and art exhibition “fashion after Fashion,” April 7–Aug 27, 2017 at the Museum of Arts and Design in New York City, curated by Hazel Clark and Ilari Laamanen. The exhibition design was commissioned work by six interdisciplinary artists/designers who incorporated a mix of sculpture, performance, and audiovisual material into their installations. The different installations, taken together and experienced together, acted back and upon each other in interesting ways in the exhibition, which was a strength of the curators’ method; the use of commiss

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17

González, Ana Marta. "On fashion and fashion discourses." Critical Studies in Fashion and Beauty 1, no. 1 (2010): 65–85. http://dx.doi.org/10.1386/csfb.1.1.65_1.

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18

Tankard, Danae. "‘They tell me they were in fashion last year’: Samuel and Elizabeth Jeake and Clothing Fashions in Late Seventeenth-Century London and Rye." Costume 50, no. 1 (2016): 20–41. http://dx.doi.org/10.1080/05908876.2015.1129857.

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This article examines high fashion culture in late seventeenth-century London and Rye, focusing on the ways that Rye merchant, Samuel Jeake (1652–1699), and his wife, Elizabeth (1667–1736), engaged with the London fashion market at a time when the transmission of fashion styles was still primarily by word of mouth. Both Samuel and Elizabeth were intensely concerned to appear fashionable in provincial Rye. Correspondence between Samuel and Elizabeth and their London relatives shows how fashion information was being communicated between London and Rye and the speed with which clothing fashions c

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19

Torres, Lara. "Fashion in the Expanded Field: Strategies for Critical Fashion Practices." Journal of Asia-Pacific Pop Culture 2, no. 2 (2017): 167–83. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.167.

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Abstract This article focuses on current strategies for critical fashion practices in an expanded field of fashion. In the late twentieth century and early twenty-first century, the field of fashion studies has increasingly scrutinized the relationship between fine art and fashion within an art museum context. Drawing a parallel with Rosalind Krauss’s notion of sculpture in the expanded field, this article documents the development of interdisciplinary fashion practices, suggesting that an expanded field allows fashion practitioners to engage in a critical discussion of the fashion system. As

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TOMIUC, Anamaria, and Oana STAN. "The Fashion Blogosphere in Romania. Fashionscape and Fashion Bloggers." Postmodern Openings 06, no. 01 (2015): 161–74. http://dx.doi.org/10.18662/po/2015.0601.11.

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Sauro, Clare. "‘This season of cellophane everywhere’: The scintillating cellophane fashions of 1934." Fashion, Style & Popular Culture 9, no. 3 (2022): 291–314. http://dx.doi.org/10.1386/fspc_00133_1.

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In 1934, textiles woven with strips of glittering cellophane were the pinnacle of high fashion. This trend has been credited mainly to Elsa Schiaparelli, who worked closely with the French textile manufacturer, Colcombet, to produce some of the most notable textiles of the early 1930s. While Schiaparelli was undeniably prominent in the promotion of cellophane fashions, she was one of many designers utilizing textiles woven with slit cellulose film during this period. The cellophane fashions produced by Schiaparelli and her peers were startling in their modernity and emblematic of the ‘strange

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22

Benders, Jos, and Kees Van Veen. "What's in a Fashion? Interpretative Viability and Management Fashions." Organization 8, no. 1 (2001): 33–53. http://dx.doi.org/10.1177/135050840181003.

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Adrian, Regia Aulia Putri, and Asep Miftahul Falah. "Trend Fashion Masyarakat Indonesia saat Menghadiri Konser Musik K-Pop." BAJU: Journal of Fashion and Textile Design Unesa 4, no. 2 (2023): 190–98. https://doi.org/10.26740/baju.v4n2.p190-198.

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A music concert is an event or performance held by musicians for music lovers as an appreciation for the music they create. Currently, Indonesian people are being inundated by music concerts held in various regions of Indonesia. Not only domestic musicians but also from abroad. Fashion is now an important part of watching music concerts. Not only as a music concert event but now the music concert event as a venue for art lovers to show their best fashion. Everyone has their own sense of fashion, so at the music concert event people wear a variety of fashions. From simple-looking fashion to fas

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24

Gaipa, Mark. "Accessorizing Clarissa: How Virginia Woolf changes the clothes and the character of her lady of fashion." Modernist Cultures 4, no. 1-2 (2009): 24–47. http://dx.doi.org/10.3366/e2041102209000446.

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The period following the first world war in England saw dramatic changes in women's clothing: the manufacturing of quality ready-made clothing brought fashion to the masses, and modern fashions helped liberate women with simpler, lighter, and more youthful designs. These changes, I argue, have great consequence for Virginia Woolf's lady of fashion, Clarissa Dalloway. In her story “Mrs Dalloway in Bond Street” (1922), Woolf produces an ultimately satirical portrait of Clarissa, who remains insulated, by class privilege and fashion sensibility, from the working world about her; but when Woolf re

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Craik, Jennifer. "The political culture of non-western fashion identities1." Fashion, Style & Popular Culture 7, no. 1 (2020): 9–27. http://dx.doi.org/10.1386/fspc_00003_1.

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Abstract The topic of non-western (or ethnic, exotic, world or fusion) fashion has been gaining traction as a legitimate field of scholarship in recent years. This rich vein of research and practice requires more attention to developing new approaches to analytic frameworks in which to evaluate the state of fashion in non-western contexts and to discuss more seamlessly the convergence and dialectical appropriation of non-western inspirations in western fashion and western inspirations in forging and negotiating non-western fashion identities. One indication of the inadequacies of current analy

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Rosa, António Machuco. "The evolution and democratization of modern fashion: from Frederick Worth to Karl Lagerfeld’s fast fashion." Comunicação e Sociedade 24 (December 30, 2013): 79–94. http://dx.doi.org/10.17231/comsoc.24(2013).1777.

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This article examines how the haute couture associated with fashion evolved from the initial creation of Frederik Worth to Karl Lagerfeld. The main idea is to see how the manifestations of the desire to display himself are grounded on differentiation strategies that are always positioned themselves as an anti-fashion critic of previous fashions. In particular, it will be analyzed three moments in the process of democratization of fashion: the chic haute couture created by Coco Chanel in opposition to Paul Poiret conspicuous and ostentatious fashion, the Yves Saint Laurent strategy that indifer

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

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

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Miller, Christopher M., Shelby H. Mcintyre, and Murali K. Mantrala. "Toward Formalizing Fashion Theory." Journal of Marketing Research 30, no. 2 (1993): 142–57. http://dx.doi.org/10.1177/002224379303000202.

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The authors develop a theoretical framework of the fashion process and a mathematical model of that framework. Basic constructs related to an individual's motivations for adopting fashions are extracted from the fashion literature and related to the individual's fashion decision process. The individual-level model is then integrated into a societal-level framework that can be represented as a system of difference equations. The parameters of the system represent static interpersonal influence networks. The general solution for the system of difference equations is presented and the dynamic imp

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Breward, Chris. "Fashion." Textile History 50, no. 2 (2019): 206–11. http://dx.doi.org/10.1080/00404969.2019.1655937.

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Frizell, John. "Fashion." Nature Physics 4, no. 3 (2008): 256. http://dx.doi.org/10.1038/nphys907.

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Roos, C. "Fashion." Zeitschrift für Herz-,Thorax- und Gefäßchirurgie 32, no. 3 (2018): 248–53. http://dx.doi.org/10.1007/s00398-018-0228-8.

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Miller, Sanda. "Fashion as Art; is Fashion Art?" Fashion Theory 11, no. 1 (2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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Lusty, Natalya. "Fashion futures and critical fashion studies." Continuum 35, no. 6 (2021): 813–23. http://dx.doi.org/10.1080/10304312.2021.1993568.

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

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Zhang, Dan, and C. Anthony Di Benedetto. "Radical Fashion and Radical Fashion Innovation." Journal of Global Fashion Marketing 1, no. 4 (2010): 195–205. http://dx.doi.org/10.1080/20932685.2010.10593071.

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Hall, Jenny. "Digital Kimono: Fast Fashion, Slow Fashion?" Fashion Theory 22, no. 3 (2017): 283–307. http://dx.doi.org/10.1080/1362704x.2017.1319175.

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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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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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Güven, Hüseyin, and Volkan Yakın. "Fashion consumption behaviors of sustainability consumers: Fast fashion or slow fashion?" Journal of Human Sciences 20, no. 4 (2023): 596–610. http://dx.doi.org/10.14687/jhs.v20i4.6424.

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Sustainability is a critical issue shaping our future, and consumer behavior is a major force in this area. Conscious choices of consumers have a critical impact on businesses achieving their sustainability goals. In order to protect the quality of life of future generations and protect our planet, it is of great importance that the interaction between consumers and businesses is shaped on the basis of sustainability. Sustainability is influential in different sectors and fields such as health, transportation, fashion and clothing, tourism and travel. Especially the clothing and fashion indust

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Moeran, Brian. "Proposing Fashion: The Discourse of Glossy Magazines." Comunicação e Sociedade 24 (December 30, 2013): 120–42. http://dx.doi.org/10.17231/comsoc.24(2013).1779.

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This essay discusses the production and discourse of fashion magazines, or glossies, which are an integral part of the ‘fashion system’. As intermediaries between producers and consuming public, the glossies’ main purpose is to propose: to make proposals about what in particular makes the latest clothes ‘fashion’; about what the latest trends are likely to be; about the importance of the names behind them; about reasons why fashion should be important in readers’ lives; and about where the clothes themselves may be purchased. Such proposals legitimize fashion and the fashion world in cultural

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Kvasnytsia, Roksoliana. "Fashion's engagement with Politics and the role of Politics in Fashion." Bulletin of Lviv National Academy of Arts 50, no. 50 (2023): 88–95. http://dx.doi.org/10.37131/2524-0943-2023-50-1-10.

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This study aims to identify and analyse the influencing factors on the processes of diffusion between fashion and politics as well as to determine forms and methods of their interaction which now appear to emerge as a separate topic for scientific research (e.g. aestheticism within political life and political dimension of the fashion itself). On the basis of an interdisciplinary approach, politics and fashion are comprehensively analyzed as two important social regulators. This analysis uses historical sources, theoretical and methodological developments of Ukrainian and foreign scientists wh

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Fang, Ge, Yuxin Fu, and Linqi Peng. "Wabi-sabi Style: the Collision of the East and West, the Combination of the Fashion and the Nature." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2499–505. http://dx.doi.org/10.54097/ehss.v8i.5019.

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In the past fifty years, Japanese fashion as one of the most prosperous Asian fashions has become a legend in the world fashion field through its special oriental design that breaks the fashion aesthetics with the West as the mainstream in the past. In recent years, wabi-sabi style has become a new fashion trend. As sustainable fashion is advocated by more and more people, the ecological concept wabi-sabi aesthetic holds also accords with the eco-fashion tendency. This paper aims to study the wabi-sabi style in the fashion field, which includes its power to collide with the fashion world domin

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Entwistle, Joanne. "The Fashioned Body15 Years On: Contemporary Fashion Thinking." Fashion Practice 8, no. 1 (2016): 15–21. http://dx.doi.org/10.1080/17569370.2016.1147693.

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Pedroni, Marco. "The evolution of a discipline: A transformative chapter in fashion studies." International Journal of Fashion Studies 12, no. 1 (2025): 3–16. https://doi.org/10.1386/infs_00125_2.

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This editorial reflects on the transformative trajectory of fashion studies, highlighting key developments over the past decade. Initially dismissed as a trivial field, fashion studies has evolved into a critical interdisciplinary domain, interrogating fashion’s intersections with social, cultural and economic structures. Through the lens of the International Journal of Fashion Studies, this evolution is examined across thematic trends such as decolonization, sustainability, digitalization and intersectionality. Decolonial approaches have critiqued Eurocentric frameworks, amplifying pluralisti

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Ilmi, Assayyidah Bil Ichromatil. "Analysis of Society Perspective about Vintage Fashion Using Deconstruction Approach." JURNAL RUPA 6, no. 1 (2021): 9. http://dx.doi.org/10.25124/rupa.v6i1.3010.

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Nowadays, society perspective about vintage fashion as old-fashioned can be changed. This study aims to discuss the alteration perspective of society about vintage fashion. This discussion is conducted to see the other side of vintage fashion. This research is different from other fashion studies because it wants to show how to view the value of a fashion not in general way, especially using deconstruction approach. This study used qualitative methods in the form of interviews to get the data. The interviewees of this research were four young women who like to follow fashion development throug

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

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

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Vattikonda, Navya, Anuj Kumar Gupta, Achuthananda Reddy Polu, Bhumeka Narra, and Dheeraj Varun Kumar Reddy Buddula. "Leveraging Deep Learning for Personalized Fashion Recommendations Using Fashion MNIST." International Journal of Multidisciplinary Research in Science and Business 1, no. 07 (2024): 54–77. https://doi.org/10.63665/ijmrsb.v1i07.08.

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People are particularly consciousof their clothing choices since fashion has a big influence on daily life. Large populations are usually recommended fashion goods and trends by specialists via a manual, curated process. On the other hand, e-commerce websites greatly benefit from automatic, personalized recommendation systems, which are becoming more popular. This study introduces a deep learning-based framework for personalized fashion recommendation, utilizing the Fashion-MNIST dataset as the primary data source. The dataset was dividedinto training and testing sets in a 70:30 ratio to ensur

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Vattikonda, Navya, Anuj Kumar Gupta, Achuthananda Reddy Polu, Bhumeka Narra, and Dheeraj Varun Kumar Reddy Buddula. "Leveraging Deep Learning for Personalized Fashion Recommendations Using Fashion MNIST." International Journal of Multidisciplinary Research in Science and Business 1, no. 07 (2024): 54–77. https://doi.org/10.63665/ijmrsb.v1i01.08.

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People are particularly consciousof their clothing choices since fashion has a big influence on daily life. Large populations are usually recommended fashion goods and trends by specialists via a manual, curated process. On the other hand, e-commerce websites greatly benefit from automatic, personalized recommendation systems, which are becoming more popular. This study introduces a deep learning-based framework for personalized fashion recommendation, utilizing the Fashion-MNIST dataset as the primary data source. The dataset was dividedinto training and testing sets in a 70:30 ratio to ensur

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Green, Denise Nicole, Jenny Leigh Du Puis, Lynda May Xepoleas, et al. "Fashion Exhibitions as Scholarship: Evaluation Criteria for Peer Review." Clothing and Textiles Research Journal 39, no. 1 (2019): 71–86. http://dx.doi.org/10.1177/0887302x19888018.

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Curated exhibitions are places where research practice, creative design, storytelling, and aesthetics converge. In this article, we use the term “fashion exhibition” to refer to the organized display of extant dress-related items within museums or other public spaces. Curation, as a form of creative design research, produces numerous outcomes including museum exhibitions, digital archives, and associated publications; however, our field has not yet established a method to peer review fashion exhibitions. In this article, we build upon the work of previous scholars to propose criteria for evalu

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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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