Thematische Bibliographien / Fashion / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Fashion“

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Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 25. Mai 2024

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1

Loreck, Hanne. „De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman's Fashion Photographs“. Fashion Theory 6, Nr. 3 (August 2002): 255–75. http://dx.doi.org/10.2752/136270402790577604.

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2

Guedes, M. G., und A. Buest. „Fashion designer, fashion consumer, fashion learner“. IOP Conference Series: Materials Science and Engineering 459 (07.12.2018): 012043. http://dx.doi.org/10.1088/1757-899x/459/1/012043.

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3

Freedman, Erin Alexa. „Fashion after Fashion“. Fashion Theory 24, Nr. 1 (03.04.2018): 113–20. http://dx.doi.org/10.1080/1362704x.2018.1454754.

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4

Sark, Katrina, und Sara Danièle Bélanger-Michaud. „Montreal Chic: Institutions of Fashion—Fashions of Institutions“. Fashion Theory 19, Nr. 3 (07.05.2015): 397–416. http://dx.doi.org/10.2752/175174115x14223685749449.

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5

McQuillan, Vésma Kontere. „Rethinking fashion review with architectural fashion analysis method“. International Journal of Fashion Studies 11, Nr. 1 (01.04.2024): 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 architectural principles not only enriches the understanding of fashion but also paves the way for an insightful exploration of fashion’s digital dimension.
6

Arjana, Sophia Rose. „Islamic Fashion and Anti-Fashion“. American Journal of Islam and Society 32, Nr. 2 (01.04.2015): 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 identity and politics, such as North American Islamophobia andits impact on Canadian Muslims. This book represents a large field of researchon Muslim women’s lived experiences, one that reveals the complexities inherentin these religious actors whose choices of dress reveal a large set ofcompeting values, desires, and commitments.The book is organized into five sections: location and encounter, historyand heritage, the marketplace, fashion and media, and fashion and anti-fashion.Two of its attractive features are the numerous black and white images runningthrough many of the chapters, as well as the two groups of stunning, provocativecolor photographs showing the richness of Islamic fashion, from “hijabistreet style” to London Muslim hipster style ...
7

Ayres, Jennifer. „A Fashion Exhibit Without Fashion“. Fashion Studies 1, Nr. 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 commissions exclusively acted as a kind of artistic method in itself. The first and most notable thing about the exhibit was that there were no clothes on mannequins. While the exhibition’s premise was on fashion, the intentional absence of clothing was a risky strategy the curators pursued to intervene in how viewers think about fashion. The installations were purposely amorphous and abstract as well to inspire a broader consideration of what fashion can be and what bodies can do. Though the relationship between fashion and the body has been a constant topic in fashion scholarship, this exhibition offered a new perspective through commissioning and showcasing the category-defying work of recent fashion and art school graduates and performance artists.
8

González, Ana Marta. „On fashion and fashion discourses“. Critical Studies in Fashion and Beauty 1, Nr. 1 (Oktober 2010): 65–85. http://dx.doi.org/10.1386/csfb.1.1.65_1.

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9

TOMIUC, Anamaria, und Oana STAN. „The Fashion Blogosphere in Romania. Fashionscape and Fashion Bloggers“. Postmodern Openings 06, Nr. 01 (30.06.2015): 161–74. http://dx.doi.org/10.18662/po/2015.0601.11.

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10

Zhao, Lihuan, Silu Liu und Xiaoming Zhao. „Big data and digital design models for fashion design“. Journal of Engineered Fibers and Fabrics 16 (Januar 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 fashions in the market, predict fashion trends, and create designs accordingly. The virtual fitting of scanatar, parametric mannequin, or even real human bodies, enables customers to quickly and easily find fashion that best meets their tastes and requirements. On consumer design-support platforms, consumers can freely select styles, colors, materials, and other fashion aspects and view the design output. Furthermore, fashion recommendation systems, guided by fashion design experts, have greatly improved consumer satisfaction with fashion design. Yet, current fashion design systems do not fully consider the performance of textile materials and do not involve functional fashion design, let alone comfort. Such limitations provide directions future research in fashion design.
11

Ellermann, Marissa. „Book Review: Clothing and Fashion: American Fashion from Head to Toe“. Reference & User Services Quarterly 56, Nr. 1 (23.09.2016): 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.
12

Kaiser, Susan B., und Anneke Smelik. „Encounters: Fashion and beauty, fashion and art, fashion and social justice“. Critical Studies in Fashion & Beauty 13, Nr. 2 (01.12.2022): 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 result, new provocations and lines of inquiry can emerge.
13

Joung, Hyun-Mee. „Fast-fashion consumers’ post-purchase behaviours“. International Journal of Retail & Distribution Management 42, Nr. 8 (05.08.2014): 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 variables. Findings – Results of Pearson correlations indicated that fast-fashion purchase was positively related to disposing and hoarding, but negatively related to participation in recycling. Apparel hoarding was positively related to recycling, but no relationships were found between environmental attitudes and any of the following: fast-fashion purchase, disposing, hoarding, or participation in recycling. Practical implications – Fast-fashion suppliers should encourage consumers’ participation in recycling and should take responsibility for collecting their post-purchase products. Originality/value – This paper provides important contributions to the literature about fashion retailing/marketing and post-purchase behaviours. Although young fashion-oriented consumers easily purchase and dispose of trendy and cheap fast-fashions, little is known about their post-purchase behaviours. Findings of this study showed that fast-fashion consumers had positive attitudes towards the environment, yet they did not participate in recycling. The finding implies that fast-fashion suppliers need to develop a culture to support sustainability of consumption.
14

Benders, Jos, und Kees Van Veen. „What's in a Fashion? Interpretative Viability and Management Fashions“. Organization 8, Nr. 1 (Februar 2001): 33–53. http://dx.doi.org/10.1177/135050840181003.

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15

Lin, Shih-Ying. „Democracy in female fast-fashion: A case study in Taiwan“. East Asian Journal of Popular Culture 7, Nr. 1 (01.04.2021): 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 Uniqlo is the most popular fast-fashion brand in Taiwan exhibiting fashion democracy for Taiwanese female consumers.
16

Torres, Lara. „Fashion in the Expanded Field: Strategies for Critical Fashion Practices“. Journal of Asia-Pacific Pop Culture 2, Nr. 2 (01.12.2017): 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 a fashion practitioner focusing on nonproductivist interdisciplinary techniques across multiple media (fashion and film, sculpture, installation, and performance), I test this notion by developing parallels between contemporary fashion and Krauss’s 1979 diagnosis. This article argues for the relevance of establishing theories of interdisciplinary practice to better understand the contemporary field of fashion, challenging assumptions about fashion’s role in the twenty-first century.
17

Breward, Chris. „Fashion“. Textile History 50, Nr. 2 (03.07.2019): 206–11. http://dx.doi.org/10.1080/00404969.2019.1655937.

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18

Frizell, John. „Fashion“. Nature Physics 4, Nr. 3 (März 2008): 256. http://dx.doi.org/10.1038/nphys907.

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19

Roos, C. „Fashion“. Zeitschrift für Herz-,Thorax- und Gefäßchirurgie 32, Nr. 3 (10.04.2018): 248–53. http://dx.doi.org/10.1007/s00398-018-0228-8.

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20

Miller, Sanda. „Fashion as Art; is Fashion Art?“ Fashion Theory 11, Nr. 1 (März 2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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21

Lusty, Natalya. „Fashion futures and critical fashion studies“. Continuum 35, Nr. 6 (31.10.2021): 813–23. http://dx.doi.org/10.1080/10304312.2021.1993568.

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22

DLA, Edit Csanák. „Fashion Design in ROWE Fashion PLMs“. International Journal of Fashion Technology & Textile Engineering 1, Nr. 1 (22.01.2019): 1–10. http://dx.doi.org/10.15226/2641-760x/1/1/00107.

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23

Zhang, Dan, und C. Anthony Di Benedetto. „Radical Fashion and Radical Fashion Innovation“. Journal of Global Fashion Marketing 1, Nr. 4 (November 2010): 195–205. http://dx.doi.org/10.1080/20932685.2010.10593071.

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24

Hall, Jenny. „Digital Kimono: Fast Fashion, Slow Fashion?“ Fashion Theory 22, Nr. 3 (27.04.2017): 283–307. http://dx.doi.org/10.1080/1362704x.2017.1319175.

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25

Shen, Lei, und Muhammad Hussnain Sethi. „Sustainable Fashion and Young Fashion Designers: Are Fashion Schools Teaching Sustainability?“ Fibres and Textiles in Eastern Europe 29, Nr. 5(149) (31.10.2021): 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 fashion designers from China, India, Bangladesh, and Pakistan participated in this research. The focus group discussions were conducted in Shanghai, China. Topics were divided into three categories:(a) fast fashion, recycling & upcycling, (b) zero-waste fashion, and (c) eco-friendly fibres. Findings disclosed that the participants were well-aware of techniques like fashion illustration, pattern-making, and draping but comparatively uninformed about sustainable fashion. They were familiar with the term „sustainable fashion” but completely unaware of details and their sustainability responsibilities. Suggestions to rectify this important issue are provided in this study.
26

Agusalim, Nadia Putri. „Fashion Business Sustainability for Fashion Designers in the Indonesian Fashion Industry“. International Journal of Review Management Business and Entrepreneurship (RMBE) 1, Nr. 2 (21.12.2021): 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 responses to the issue of fashion business sustainability, the various challenges, and what factors are needed to ensure a long lasting through semi-structured in-depth interviews. Overall findings revealed the need for fashion designers to have an entrepreneurial mindset and for fashion businesses to possess all sustainable business key factors in various aspects ranging from design, business and the various qualities from the fashion designer themselves, while also taking account of the external state which was set in the Indonesian fashion industry for business sustainability and organic business growth. Fashion designers who controls all these factors will have a significantly higher chance of sustainability while competing with other fashion businesses.
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Güven, Hüseyin, und Volkan Yakın. „Fashion consumption behaviors of sustainability consumers: Fast fashion or slow fashion?“ Journal of Human Sciences 20, Nr. 4 (21.10.2023): 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 industry has a great potential in terms of sustainability. The fashion industry is a huge industry serving people around the world to foster creativity, trends and personal expression. Since the fashion sector has a great role in the destruction of nature, researchers and marketers have drawn attention to the importance of slow fashion and sustainability in order to raise awareness of the producer and the consumer. Therefore, sustainability is becoming an increasingly important issue in the fashion industry. Within the scope of this study, the effect of consumers' knowledge of sustainability on their attitudes and perceptions towards advertising messages and their fast/slow fashion preferences are examined. (Extended English summary is at the end of this document) Özet Sürdürülebilirlik, geleceğimizi şekillendiren kritik bir konudur ve tüketici davranışları bu alanda büyük bir güç oluşturur. Tüketicilerin bilinçli tercihleri, işletmelerin sürdürülebilirlik hedeflerine ulaşmasında kritik bir etkiye sahiptir. Gelecek nesillerin yaşam kalitesini ve gezegenimizi korumak için, tüketiciler ve işletmeler arasındaki etkileşimin sürdürülebilirlik temelinde şekillenmesi büyük önem taşımaktadır. Sürdürülebilirlik sağlık, ulaşım, moda ve giyim, turizm ve seyahat gibi farklı sektörlerde ve alanlarda etkilidir. Özellikle giyim ve moda sektörü, sürdürülebilirlik açısından büyük bir potansiyele sahiptir. Moda endüstrisi, yaratıcılığı, trendleri ve kişisel ifadeyi teşvik etmek için dünyanın dört bir yanındaki insanlara hizmet veren devasa bir sektördür. Doğanın tahrip edilmesinde moda sektörünün rolü büyük olduğundan dolayı üreticinin ve tüketicinin bilinçlenmesi için araştırmacılar ve pazarlamacılar yavaş moda ve sürdürülebilirliğin önemine dikkat çekmişlerdir. Bu nedenle, sürdürülebilirlik moda sektöründe giderek daha önemli bir konu haline gelmektedir. Bu çalışma kapsamında tüketicilerin sürdürülebilirlik konusunda bilinç düzeylerinin reklam mesajlarına yönelik tutum ve algıları ile hızlı/yavaş moda tercihleri üzerindeki etkisi incelenmektedir.
28

Радионцева, Екатерина Сергеевна. „The Vogue of Fashion: Specifics of Development of Fashion-journalism in Russia“. Philology & Human, Nr. 4 (2019): 154–60. http://dx.doi.org/10.14258/filichel(2019)4-13.

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29

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, Nr. 1 (01.01.2016): 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 changed in the capital. The discussion of Samuel and Elizabeth’s engagement with fashion is framed by an analysis of contemporary satirical literature which takes the supposed obsession of the English with fashion as its theme.
30

Entwistle, Joanne. „The Fashioned Body15 Years On: Contemporary Fashion Thinking“. Fashion Practice 8, Nr. 1 (02.01.2016): 15–21. http://dx.doi.org/10.1080/17569370.2016.1147693.

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31

Sauro, Clare. „‘This season of cellophane everywhere’: The scintillating cellophane fashions of 1934“. Fashion, Style & Popular Culture 9, Nr. 3 (01.07.2022): 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 glamour’ worn by some of the best-dressed women of the early 1930s. Cellophane fashions were promoted by the French couturiers throughout 1934 and quickly embraced by the American fashion industry. However, despite this initial enthusiasm, the cellophane fashion trend soon subsided as the artistic and intellectual associations of cellophane fashions were replaced with those of practicality and thrift.
32

Miller, Christopher M., Shelby H. Mcintyre und Murali K. Mantrala. „Toward Formalizing Fashion Theory“. Journal of Marketing Research 30, Nr. 2 (Mai 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 implications of several interpersonal influence patterns assumed in previous research are derived mathematically.
33

Kvasnytsia, Roksoliana. „Fashion's engagement with Politics and the role of Politics in Fashion“. Bulletin of Lviv National Academy of Arts 50, Nr. 50 (30.06.2023): 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 who studied the process of diffusion between fashion and politics. Such processes of diffusion were identified and considered accordingly within the most significant factors of influence: politics is the dictator of fashion; fashion is a symbol of a political movement; political leaders are dictators of fashion; fashion is the language and weapon of fashion designers. A comprehensive analysis showed that over the centuries in all contries of the world fashion performed the role of an identifier of the social stratification of society, was an indicator of social status, a reflection of political processes. Fashion is considered as an ideological imagery of a political movement and a symbol of the idea represented by an image. Also, functions of fashionable symbols have been revealed. It was determined that national revolutionary movements and wars influence fashion innovations, in particular, the development of patriotic clothing style (national clothing style; revolutionary fashion; military fashion). The process of diffusion is considered based on the analysis of the visual image of political leaders. It has been determined that the visual image plays an important role in the formation of the image of the state, as it is shaped within the consciousness of society and with the help of associative connection. Fashion also plays an important role in the evolution of political identities. Conceptual presentations of fashion collections have been proven to be a spectacular and an effective form of diffusion between fashion and politics. Such shows present a scenographic character of protest and manifest and are powerful and effective in influencing collective political consciousness of a society. Since the visuality is a priority in postmodern culture, one of the relevant topics for further research will be the issue of design and fashion in the field of political imagelogy of the post-war period in Ukraine, which will also encompass topics on development strategies and methods as well as influencing factors and effective tools.
34

Gaipa, Mark. „Accessorizing Clarissa: How Virginia Woolf changes the clothes and the character of her lady of fashion“. Modernist Cultures 4, Nr. 1-2 (Mai 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 rewrites her story as a novel (1925), Clarissa comes to feel deeply for her lower-class counterparts. The change reflects Woolf's modernist technique, which strips away Clarissa's material insulation. But Woolf's dematerialized modernism in turn echoes contemporary women's fashions, which likewise were revolting against heavy materials, exploring youthful looseness, and even allowing ladies and workers to become fashion doubles.
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Ivan, Coste Maniere, Doyle Celia, Guerbas Sarah und Guisiano-Demarez Matthieu. „FROM FAST FASHION TO SLOW FASHION SUSTAINABLE INNOVATIONS: FROM NATURE TO FASHION“. Global Fashion Management Conference 2019 (11.07.2019): 512–13. http://dx.doi.org/10.15444/gfmc2019.05.06.01.

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Palomo-Lovinski, Noël, und Kimiko Hahn. „American Consumer Perceptions of Sustainable Fashion, Fast Fashion, and Mass Fashion Practices“. International Journal of Sustainability in Economic, Social, and Cultural Context 16, Nr. 1 (2020): 15–27. http://dx.doi.org/10.18848/2325-1115/cgp/v16i01/15-27.

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Craik, Jennifer. „The political culture of non-western fashion identities1“. Fashion, Style & Popular Culture 7, Nr. 1 (01.01.2020): 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 analytic frameworks used to understand non-western fashion is the use of oppositions and polarities such as colonial/postcolonial, exotic/indigenous and local/global. This article argues that non-western fashion can only be adequately unpacked and understood if the embedded politics of the cultures in which non-western emanates are recognized, drawing on the history of fashions in China and references to Chinoiserie in Eurocentric fashion.
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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 (30.12.2013): 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 indiferentiates gender, and the fast-fashion strategy developed by Karl Lagerfeld in his collection for H & M. From these three cases, and based on theories Thornstein Veblen and George Simmel, it will be presented a theoretical model that allows us to understand the overall dynamics of fashion change.
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Fredriksson, Cecilia. „Retail and Fashion – A Happy Marriage?: The Making of a Fashion Industry Research Design“. Culture Unbound 3, Nr. 1 (19.04.2011): 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 conditions are reflected in the relationship between fashion and retail, and how different interests and values are expressed in the culture of Swedish fashion. To gain a deeper understanding of diverse working conditions and strategies, this article analyzes the culture of the Swedish fashion business as a narrative of different social and cultural processes. A conclusion drawn is that a cultural perspective on the oppositions between different practices and logics in the fashion business may contribute to mapping and managing these oppositions.
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Moeran, Brian. „Proposing Fashion: The Discourse of Glossy Magazines“. Comunicação e Sociedade 24 (30.12.2013): 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 — and commercial — terms.The glossies make meaningful connections between things that seem to be essentially independent; they give them social lives by creating an imaginary world about them; and they provide historical and aesthetic order in a world whose products, by their very seasonality and potentially chaotic quantity, are likely to go unnoticed. Fashion magazines represent the fashions shown in the catwalk collections. In so doing, they create ‘a discourse of fashion’ whose key evaluative terms are used by different people across time and space to mark out and contest semantic territory in which local cultural preferences engage with globalizing norms of fashion taste.
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Hatef Jalil, Marzie, und Siti Shukhaila Shaharuddin. „Fashion Designer Behavior Toward Eco-Fashion Design“. Journal of Visual Art and Design 12, Nr. 1 (06.07.2020): 1. http://dx.doi.org/10.5614/j.vad.2020.12.1.1.

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Kim, Sun Young. „Characteristics of fashion figure in contemporary fashion“. Research Journal of the Costume Culture 22, Nr. 4 (31.08.2014): 565–78. http://dx.doi.org/10.7741/rjcc.2014.22.4.565.

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Paschetto, Emilio. „Luxury Fashion versus a Fast-Fashion Environment“. Symphonya. Emerging Issues in Management, Nr. 4 (2015): 40. http://dx.doi.org/10.4468/2015.4.05paschetto.

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Gatzen, Pascale. „Take Back Fashion! Fashion Held in Common“. APRIA Journal 1, Nr. 1 (01.02.2020): 70–74. http://dx.doi.org/10.37198/apria.01.00.a9.

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Jung, Hojin, und Hosup Kan. „Taoistic Fashion Aesthetics in Art Deco Fashion“. Journal of the Korean Society of Costume 69, Nr. 1 (31.01.2019): 127–40. http://dx.doi.org/10.7233/jksc.2019.69.1.127.

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Burcikova. „Introduction: Fashion in Utopia, Utopia in Fashion“. Utopian Studies 28, Nr. 3 (2018): 381. http://dx.doi.org/10.5325/utopianstudies.28.3.0381.

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Lee, Jeong Hwa, und Jisoo Ha. „Black Fashion-manias’ Images and Fashion Styles“. Fashion & Textile Research Journal 22, Nr. 2 (30.04.2020): 139–48. http://dx.doi.org/10.5805/sfti.2020.22.2.139.

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Workman, Jane E., und Cathryn M. Studak. „Fashion consumers and fashion problem recognition style“. International Journal of Consumer Studies 30, Nr. 1 (Januar 2006): 75–84. http://dx.doi.org/10.1111/j.1470-6431.2005.00451.x.

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Polese, Francesca, und Regina Lee Blaszczyk. „Fashion forward: The business history of fashion“. Business History 54, Nr. 1 (Februar 2012): 6–9. http://dx.doi.org/10.1080/00076791.2011.617206.

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sun young kim. „Characteristics of fashion figure in contemporary fashion“. Research Journal of the Costume Culture 22, Nr. 4 (August 2014): 565–78. http://dx.doi.org/10.29049/rjcc.2014.22.4.565.

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