Relevant bibliographies by topics / 120306 Textile and Fashion Design

Academic literature on the topic '120306 Textile and Fashion Design'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "120306 Textile and Fashion Design"

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Salolainen, Maarit, Anna-Mari Leppisaari, and Kirsi Niinimäki. "Transforming Fashion Expression through Textile Thinking." Arts 8, no. 1 (December 24, 2018): 3. http://dx.doi.org/10.3390/arts8010003.

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The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Helsinki, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process.
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Chen, Jocelyn H.-C. "Integration of Textile and Fashion Design with Overstitching." Research Journal of Textile and Apparel 15, no. 1 (February 2011): 33–43. http://dx.doi.org/10.1108/rjta-15-01-2011-b004.

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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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Simonson, Caryn. "Textile Futures: Fashion, Design and Technology, Bradley Quinn." TEXTILE 10, no. 3 (January 2012): 350–52. http://dx.doi.org/10.2752/175183512x13505526963741.

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Sandvik, Ida Marie, and Wendy Stubbs. "Circular fashion supply chain through textile-to-textile recycling." Journal of Fashion Marketing and Management: An International Journal 23, no. 3 (July 8, 2019): 366–81. http://dx.doi.org/10.1108/jfmm-04-2018-0058.

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Purpose The purpose of this paper is to explore the drivers, inhibitors and enablers of creating a textile-to-textile recycling system in the Scandinavian fashion industry. It investigates the technology, innovation and systemic changes required to enable circular supply chains. Design/methodology/approach The research study uses a qualitative, interpretivist approach, drawing on in-depth semi-structured interviews with stakeholders in the Scandinavian fashion industry. Findings The main inhibitors to textile-to-textile recycling systems in the Scandinavian fashion industry are: limited technology which creates a challenge for separating materials; high costs of research and development and building the supporting logistics; complexity of supply chains including the multitude of stakeholders involved in product development. The enablers are design and use of new materials, increased garment collection and collaboration. This research suggests that sorting and recycling technology can be enhanced with the use of digital technologies, as this would create transparency, traceability and automatisation. Research limitations/implications The research is limited by a small sample size and lack of representation of all key stakeholder groups, which limits the ability to generalise these findings. However, as an exploratory study, the findings provide insights that can be further tested in other contexts. Originality/value Understanding of textile-to-textile recycling is emerging both theoretically and practically, however, there is still much that is not understood. This research contributes to furthering understanding of how technology, collaboration and systemic change in the fashion industry can support opportunities for textile-to-textile recycling, thereby aligning with circular economy principles.
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Bide, Bethan. "Class and creativity in fashion education: A comparison of the pedagogies of making and design at British technical schools and art and design schools, 1870s‐1950s." International Journal of Fashion Studies 8, no. 2 (October 1, 2021): 175–94. http://dx.doi.org/10.1386/infs_00049_1.

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Discourses of creativity play a crucial role in shaping cultural perceptions of what constitutes creative labour, who performs it and where it is located. This article explores the historical role that businesses, policy-makers and education providers played as co-producers of discourses about creativity in British fashion and textile design education. Beginning with the emergence of new vocational courses for textile design and manufacture in the 1870s, it traces how the language used to describe conceptions of creativity evolved in relation to educational provision for textiles, dressmaking and, later, fashion over the first half of the twentieth century. During this period, creativity became associated with labour related to designing fashion and textile goods ‐ such as illustration ‐ rather than the labour of making them. This shift resulted from the establishment of fashion and textile design as respected courses within art and design schools, which backed the ideal of a professional designer. It was implemented at the expense of, and with the effect of undermining the creative labour of staff and students in vocational trade schools. As a result, this article challenges the idea that the development of fashion and textile design courses in art and design schools democratized the creative labour of design in the British fashion industry by opening opportunities for the middle-classes. Rather, it finds that discourses around creative labour worked to exclude the creativity of the predominantly working-class students at technical schools, with long-term implications for the relationship between socio-economic status and access to the creative industries.
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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 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.
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Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.

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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".
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Xiao, Ya-Qian, and Chi-Wai Kan. "Review on Development and Application of 3D-Printing Technology in Textile and Fashion Design." Coatings 12, no. 2 (February 16, 2022): 267. http://dx.doi.org/10.3390/coatings12020267.

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Three-dimensional printing (3DP) allows for the creation of highly complex products and offers customization for individual users. It has generated significant interest and shows great promise for textile and fashion design. Here, we provide a timely and comprehensive review of 3DP technology for the textile and fashion industries according to recent advances in research. We describe the four 3DP methods for preparing textiles; then, we summarize three routes to use 3DP technology in textile manufacturing, including printing fibers, printing flexible structures and printing on textiles. In addition, the applications of 3DP technology in fashion design, functional garments and electronic textiles are introduced. Finally, the challenges and prospects of 3DP technology are discussed.
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Chung, Ha Jeong, and Juhee Park. "Contemporary Characteristics of Fashion-textile Design Applying Paisley Ornament." Journal of the Korean Society of Clothing and Textiles 44, no. 5 (October 31, 2020): 950–68. http://dx.doi.org/10.5850/jksct.2020.44.5.950.

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Dissertations / Theses on the topic "120306 Textile and Fashion Design"

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Finn, Angela L. "Fashion manufacturing in New Zealand : can design contribute to a sustainable fashion Industry?" Thesis, Auckland University of Technology, 2008. https://eprints.qut.edu.au/31512/1/c31512.pdf.

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In the late 1990s New Zealand fashion gained some international recognition for its dark edginess and intellectual connection due to its colonial past (Molloy, 2004). In the years since, this momentum seems to have dissipated as local fashion companies have followed a global trend towards inexpensive off shore manufacturing. The transfer of the making of garments to overseas workers appears to have resulted in a local fashion scene where many garments look the same in style, colour, cut and fit. The excitement of the past, where the majority of fashion designers established their own individuality through the cut and shape of the garments that they produced, may have been inadvertently lost. Consequently a sustainable New Zealand fashion and manufacturing industry, with design integrity, seems further out of reach. The first question posed by this research project is, ‘can the design and manufacture of a fashion garment, bearing in mind certain economic and practical restrictions at its inception, result in the development of a distinctive ‘look’ or ‘handwriting’?’ Second, through development of a collection of prototypes, can potential garments be created to be sustainably manufactured in New Zealand?
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Kim, Hye Eun. "Designing fashion with Qi energy." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1687/.

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This practice-led research explores the significance of Qi energy for fashion by materialising the East Asian culturally-specific concept of Qi. Qi features prominently in the traditional philosophy of everyday life in East Asia and my research aims to show how this philosophy can also provide an understanding of the relationship between body, garment and making, which is new to more Western concepts of fashion culture. This reflective journey unravels fashion practice in this context, focusing on the making process and the methods that were developed during that process. I engaged in significant handwork in the field of contemporary womenswear, integrating concepts of the body and garment as a circulatory system for Qi energy. It is the objective of this research to realise garments which help the understanding of Qi as a communication tool in relationships that arise in fashion, namely those that exist between the material and the maker during the making process, the body and the garment, and the wearer and the viewer. My research question originates from a desire to find a way to materialise Qi in garments through the making process. To pursue this, I explore a range of fields including anthropology, material culture, psychoanalysis, literature, cultural theory, and language. Apart from contextual studies, I adopted conversations and filming as methods to develop my research further. In practice, I investigate the meridians (as seaming which constructs garments), the finishing and the openings of the garment, all of which amount to a transitional interface. I view this as a concrete way of injecting Qi energy into the garment on a material level. I have reflected deeply on my making experience; this reflection has led the entire process and also given me a much better understanding of body and garment. Through my making process, aimed at materialising Qi in the garment, I essentially tried to establish a better connection between body and garment. This thesis oscillates between practice and theory. My research suggests Qi energy as a new perspective on fashion making; it offers a new understanding of the body in fashion and tries to fill the gap between practice and theory through embodied knowledge.
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Kjolberg, Torunn. "Visual research practice in fashion and textile design higher education." Thesis, University of Brighton, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.643553.

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This thesis is concerned with visual research in the context of fashion and textile design education. Utilising an ethnographic methodology, this study followed a group of self-selected fashion and textile design students throughout their first two years of study at a higher education institution in the south of England. Drawing on a series of personal interviews, participant observation and analysis of course documents, the research examines how visual research practices are structured through teaching, student engagement and participation, as well as through various forms of reification. Two key theoretical perspectives inform this thesis: Lave and Wenger and Wenger's concepts of legitimate peripheral participation and communities of practice, and Winnicott's notions of transitional phenomena and object-use. Their mutual relevance and complementarity is considered to explicate the dynamic between subjectivity, materiality and the social world in this study. This thesis argues that the tacitness of visual research practices presents a problem for many learners, as confusion and self-doubt arise due to the lack of articulation and a perceived instability of meaning behind these processes. Meanwhile, the students' reconciliation of their own practices with those endorsed through teaching was identified as key to successful participation on the course. Whilst some students were able to navigate these ambiguities and, in Winnicott's sense, put them into use, for other students this entailed alignment of practices without mutual negotiation. Results were identities of non-participation or compliance without negotiation of meaning. Although the tacitness of visual research poses an obstacle, I conclude that a universal definition of visual research is problematic or even impossible. These practices are mutable, contextual and situated. Therefore, in this study, learning visual research entails participating on the course, which can be conceived of as a community of practice, and which acts (potentially) as a facilitating environment where students can put the sources, tools, materials and practices of visual research into use.
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Worth, Syd Graham. "Textile design consultancy in the U.K. : a study of a small group of textile design consultants working in the U.K." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267443.

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Viziteu, Diana-Roxana, and Antonela Curteza. "3D printing technology in textile and fashion industry." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/16807.

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This papers aims to explore the applicability of 3D printing materials using thermoplastic polyurethane (TPU) for the development of protective gear. In the fashion industry, three-dimensional (3D) printing has been used by designers and engineers to create everything from accessories to clothing, but only a few studies have investigated its applicability in personal protective equipment. One of the most significant technologies of the fourth industrial revolution is 3D printing. Additive manufacturing and 3D printing are the subject of intensive research and development (methods, materials, new techniques, application areas, etc.). The purpose of this study is to develop 3D printing samples and study conditions related to TPU.
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Jansen, Barbara. "Composing over time, temporal patterns : in Textile Design." Doctoral thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3721.

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The work presented in this thesis investigates through practice a new field of textile design exploring the visual effects of moving light as a continuous time-based medium. Thereby, the textile design pattern reveals its composition, not in one moment of time any more, but in fact over time. The thesis consist of four parts: a solo exhibition at the Textile Museum in Borås from 17th February- 28th March 2015, five posters, an interactive thesis including 48 films (download file) and present thesis book. The artefacts displayed in the thesis show a varying range of examples which explore aesthetical possibilities of how light can be integrated as an active part into textile structures, ranging from weaving to braiding techniques, both hand crafted, as well as industrial produced. Thereby three main groups of experiments: colour flow, rhythm exercise, sound_light experiment explore and discuss a range of different time-based expressions. Thus define and establish relevant new design variables and notions, whilst working with time-based design processes. In the following descriptions of these experiments two forms of writing have been used to describe the experiments. One is purely descriptive, neutral form to describe the experiments as such, whereas text titled Research Diary Notes includes reflections and personal comments on the experiences during work on the experiments. The interactive thesis and the exhibited artefacts are an invitation to view new textiles expressions and are an initial guide on the road toward future time-based design works, particularly in the area of light emitting textiles.

Disputationen sker den 17:e mars 2015, kl. 10-12 i Textilmuséet, Textilhögskolan, Skaraborgsvägen 3, Borås. Opponent: Dr Nithikul Nimkulrat, Professor i textildesign, Head of Department of Textile Design, Estonian Academy of Arts.

Disputationen genomförs på engelska.

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Nilsson, Linnéa. "Textile influence : exploring the role of textiles in the product design process." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3716.

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Textile materials and textile design are a part of countless products in our surroundings, as well as of diverse design fields and industries, with very different material traditions and working methods. Textile materials and industry have undergone many changes during recent decades, in terms of how and where textiles are produced, and what textiles can be and do; in much the same way, the design practices that textiles are involved in have also developed. What these diverse and evolving design contexts in which textiles are involved in have in common is that textile materials and textile design decisions somehow meet the rest of the design during a design process. The aim of this thesis is to add to our understanding of the relationship between textiles and products in the design process, and to explore the roles that textile design plays when designing textile products, the roles they can come to play when textiles become more complex and offer new means of functionality and expressiveness, for example through smart textile technology. This thesis presents two types of result: Firstly, descriptions of textile product design processes that highlight the wide range of roles that textiles can play in the textile product design processes of today, accentuate how textile materials and design decisions can influence both what can be designed and the design process, and describe some of the additional complexities that come with designing and designing with smart textiles. These examples are presented in the appended papers, and are the outcome of an observation of students who were designing textile products and collaborative, practice-based design research projects. Secondly, this thesis presents a theoretical framework which aims to offer a broad perspective on the relationship between textile design and the product design process, with the intention of opening up for reflection on how we design, and can design, with textiles. The framework focuses on how textile design decisions and textile materials participate in the process, and to what degree they influence the development of the design; this includes methods, questions, etc. that can be used to explore and define this dynamic. One of the main points of the framework is the importance of the textile influence in textile product design processes; the specific qualities of textiles as a design material - the considerations, possibilities, and challenges, which influence both the design of the product and the process of designing it. This includes not only the textiles in the final design, but also the textiles that, in other ways, feature in this process.
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Barbosa, Ana Cecilia. "Embodied self-expression through textile design." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23190.

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Motivated by studies of dress and the importance that it has on identity formation and expression of self, this research tries to answer the question of how can an interactive tool create greater means for self-expression of the dressed body through the design of textiles? The goal of pursuing the question is to ultimately promote a more sustainable fashion culture that relies on the creation of long-lasting products. Employing Research through Design as the main methodology, this research went through a series of sequential design experiments – namely workshops and prototypes – with the ambition of generating knowledge in the context of the design space, and in order to inform the design of the interactive tool proposed by the research question. The main research findings suggest that the direct engagement with the painting of textiles through ruled self-reflection tasks, in collaboration with a machine, provides great means for the creation of long-lasting products – showing, therefore, a fruitful path towards fashion sustainability. In addition to the conception and building of a final artifact, this research resulted in a set of guidelines that aims at advising the creation of other future artifacts.
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CHENG, JOHN PEIJON. "HOME FASHION: A CONCEPT OF CREATING HOME FURNISHING PRODUCTS USING FASHION THEORY AND DESIGN PROCESS." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1052937178.

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Fletcher, Kate Tanya. "Environmental improvement by design : an investigation of the UK textile industry." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300241.

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Books on the topic "120306 Textile and Fashion Design"

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A, Parmal Pamela, ed. Textile & fashion arts. Boston: MFA Publications, 2006.

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Textiles and fashion. Lausanne: AVA Academia, 2008.

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Textile futures: Fashion, design and technology. Oxford: Berg, 2010.

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Luther, Cameron. Career in textile & fashion designing. Chandigarh: Abhishek Publications, 2008.

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Constance, Korosec, ed. Fashion fabrics 1960s. Atglen, PA: Schiffer Pub., 1998.

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Oy, Marimekko, and Bard Graduate Center: Decorative Arts, Design History, Material Culture, eds. Marimekko: Fashion and design. Helsinki: Designmuseo, 2010.

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Park, Honey. The future ethereal in fashion textile: MA Textile Design 2003. London: Central Saint Martins College of Art & Design, 2003.

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Braddock, Sarah. Techno textiles: Revolutionary fabrics for fashion and design. [London]: Thames and Hudson, 1998.

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Daniel, Tribouillard, Privat-Savigny Maria-Anne, and Musée des arts décoratifs et des tissus (Lyon, France), eds. Leonard, fashion impressions. Lyons: Lieux Dits, 2006.

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Ireland, Patrick John. Introduction to fashion design. London: BT Batsford, 1992.

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Book chapters on the topic "120306 Textile and Fashion Design"

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Senthil Kumar, P., P. R. Yaashikaa, and C. Femina Carolin. "Sustainability in Textile Design." In Sustainable Design in Textiles and Fashion, 39–51. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-2466-7_3.

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Seixas, Sónia, Gianni Montagna, and Maria João Félix. "Materials Matters in Textile and Fashion Design Education." In Advances in Industrial Design, 681–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80829-7_84.

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Freire, Karine. "Strategic Design for Social Innovation In The Fashion System: The Sustainable Fashion Ecosystem Case." In Textile Science and Clothing Technology, 87–103. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1850-5_5.

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Seixas, Sónia, Gianni Montagna, and Maria João Félix. "Weaving the Skills of the Textile Designer as a Contribution to the Construction of a Textile Ecosystem of the Future." In Advances in Fashion and Design Research, 505–17. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_43.

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do Vale, Cleonisia Alves Rodrigues, Ana Cristina Broega, and Gianni Montagna. "Explorations About Textile Artisan Practices in the Minho Region." In Advances in Fashion and Design Research, 183–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_16.

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Haeggblom, Jonna, and Ina Budde. "Circular Design as a Key Driver for Sustainability in Fashion and Textiles." In Sustainable Textile and Fashion Value Chains, 35–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-22018-1_3.

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Pal, Rudrajeet. "Sustainable Design and Business Models in Textile and Fashion Industry." In Textile Science and Clothing Technology, 109–38. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2639-3_6.

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Oliveira, Manoella, Joana Cunha, and Isabel Cabral. "ARTILES – Augmented Reality in Textile Patterns Inspired by Portuguese Tiles." In Advances in Fashion and Design Research, 779–91. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_67.

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de Paula Azambuja, Patricia, and António Marques. "Rethinking Textile Disposal: Reuse of Denim for New Product Development." In Advances in Fashion and Design Research, 633–41. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16773-7_53.

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Eckert, Claudia. "Design for Values in the Fashion and Textile Industry." In Handbook of Ethics, Values, and Technological Design, 1–20. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6994-6_37-1.

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Conference papers on the topic "120306 Textile and Fashion Design"

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Pina, Liliana, José Lucas, Paulo Duarte, Paulo Martins, and Rui Miguel. "A Viewpoint on Inclusive Design towards Portuguese Fashion Designers and Brands." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-i6g26f.

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Some fashion brands and designers have been developing services and products in the last decade taking similarly, into consideration consumers that have some disability. Knowing that visual communication of a brand itself is not possible with unsighted consumers, it is necessary and relevant to investigate how consumers can create an emotional attachment with fashion brands. This paper aims to analyze the inclusive design approach and methods. Attending to the following question of investigation, “how visually impaired consumers are able to create an emotional relationship with fashion brands” the methodology for this paper is based on a mixed methodology. The literature review is based on scientific papers, informative articles, books, and report analysis. Regardless of the product or services, clothing brands established in Portugal usually do not have an inclusive approach. A set of hypotheses were formulated from the literature review analysis, which will be further tested using the data collected. It was not possible to set up the empirical study winch will be carried out in the future. This study will be of added value to guide future investigations and endorse the possible future success of fashion brands and designers in Portugal in the field of accessibility and inclusive design.
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Guedes, Graça, and Andreana Buest. "Technology-Based Tools for an Online, a Collaborative Learning Experience in Fashion Design." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-774k4x.

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This paper analyses the results obtained from an online learning experience, in which fashion professionals and students were invited to explore and use a set of technology-based tools to develop their projects. It was expected that these tools and resources would potentiate and create a contextualized online learning experience in fashion design, helping learners to think and learn with each other, to bring ideas to life while interacting with data and information that were made available to them. A set of tools and resources were researched, identified, and allocated with specific fashion-design tasks. Participants were then asked to resolve these tasks resorting to the tools and resources presented and exploring beyond them, experimenting with potential uses in fashion design projects. The aim was also to understand if learners would acknowledge their potential to create a learning community, through connectivity and shared goals, helping them to develop their projects and stimulating reflective-thinking and self-determined capabilities, needed in the fashion professional environment. The results demonstrated that although learners recognised the potentiality of these tools for their fashion design projects, by convenience or lack of technological skills, they resorted to traditional methods of developing and communicating their projects. The results also demonstrated that like any technology adopted for educational purposes in the past, technologies-based tools, collaborative and mobile technologies require a further discussion about their limitations and potentialities and further experimentation by the fashion design sector.
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Lam, Artde Donald Kin-Tak. "A study on fractal patterns for the textile design of the fashion design." In 2017 International Conference on Applied System Innovation (ICASI). IEEE, 2017. http://dx.doi.org/10.1109/icasi.2017.7988605.

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Santos, Gabriela, and Cristina Carvalho. "Ergonomic Fashion Design: Sustainable Dyes." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001318.

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Water waste, contamination, and fossil fuel generated energy are acknowledged issues within the textile industry. Current dyeing processes pose serious threat to the environment and human health, often associated with toxic and carcinogenic substances that are released into the environment, through effluents not conveniently treated before being discharged into natural waters. Besides print and pattern, consumers demand for basic characteristics in textiles – these must resist to agents that cause colours to fade. On the other hand, industry must provide a great range of colours and access to huge quantities of coloured substance to dye. Simultaneously, it must be cost-effective. Natural dyes are perceived as less harmful for the environment due to its biodegradable nature. Studies reveal certain natural dyes possess UVR protection properties, as well as antimicrobial and anti-inflammatory assets. Nevertheless, depending on the nature of the dye, there are many advantages and disadvantages to consider.Through an extensive study on various fields such as Biotechnology, History, Ethnography, Biology, Archaeology, amongst many others we gathered information regarding natural coloured compounds, colour sources (plants, animals and microorganisms), ancient and modern techniques of extraction and application. This study shows the evolution of dyes throughout the centuries. It also reveals that the revival of natural dyes in addiction to new cutting edge technologies such as biotechnology might allow for an industrial feasibility.
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Yushan, Zou, and Zhang Desheng. "The stitched textile technology and its emotional consideration property in fashion design." In 2014 2nd International Conference on Advances in Social Science, Humanities, and Management. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/asshm-14.2014.96.

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Melo, Beatrice, Thiago Beresford, and Ana Cristina Broega. "Fashion Design and Production through the Social Economy Lens: Contributions and Challenges for a Holistic Approach." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-29ub74.

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The growing environmental crisis and the proliferation of social inequality, with affective ties to the movements of predatory neoliberal globalization, desperately claim for the constitution of a truly sustainable future. To this end, it is essential to implement ethical, empathic, and cooperative behaviors and the reorientation of the market to consider the coexistence of human beings with nature in harmony. In this context, the global fashion system, characterized by mass production, low cost, and promoting excessive disposable consumption, devalues the natural diversity of the biosphere - from the extraction of raw materials to waste produced in the post-consumption - and contributes, directly and exponentially, to aggravate social inequalities and fracture, increasingly, the imbalance of ecosystems. The concept and practices of the Circular Economy have often been addressed to implement a sustainable production chain; however, it still neglects the social and cultural dimensions. Founded on the fashion production chain processes and their impacts on the lives of those who manufacture garments, on the community and environment in which we live, the purpose of this article is to present a sustainable model for designing and manufacturing fashion products. Social Economy values such as the social development of the people and communities involved, holistic development of the human being, diffusion of feelings of cooperation, respect, solidarity, and commitment, and, above all, ethical behaviors are the groundwork of this study. This framework absorbs characteristics of the Social Economy in the fashion industry and values sustainable human development supported by educational programs for workers, socially responsible sewing workshops, collaborative design, recognition of local knowledge, and social entrepreneurship. Furthermore, this model will empower the wage-earner community that produces fashion by participating in the design and development of apparel products. The methodology used included a literature review and analysis of reports; after identifying critical points of Social Economy theories, this study aims to provide a fairer model for developing products oriented towards the humanization of productive relations, transparency, and sustainability. Despite including SE's humanistic components to fulfill the CE's social gaps, this plan for Social Circularity can only overcome a few of the recurrent problems in fashion production. Standing as an in-progress framework requires both validation and deepening of socio-ecological aspects in implementing a holistic economy in its total multidimensionality.
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Dereje, Debeli, Jieyuan Liu, and Jiu Zhou. "African textile design and fabric arts as a source for contemporary fashion trends." In 2nd International Conference on Science and Social Research (ICSSR 2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icssr-13.2013.50.

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Bicho, Marta, Maria Madalena Pereira, Rui Miguel, and Nuno Belino. "Fashion design and fashion technology courses: Practical skills in patterns making, garment manufacturing techniques, technologies, and applications for fashion industry." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001540.

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In higher education of national and international courses, there appear the designation Fashion Design, Fashion Technology, and the techniques of pattern making and garment manufacturing which are not always associated in the same curricular unit. The practical skills associated with these two techniques are complementary in fashion product development; but the separation or the failure of interaction between them in the past, contributed to the deficiencies in the validation of the fashion product in the learning phase and in many cases, they present deficiencies in the transfer of knowledge to the labor market. The type of textile and clothing industry differs from country to country, in Portugal it is still essentially based on exporting companies, accounting for 10% of the national exports, where the profile of the professional required is mainly for product development, with skills in techniques, materials and market. In other countries, the profile is adapted for departments, from the creation and development of collections for fashion brands, product development, market, global and local sourcing, among others, result of the evolution that the sector had in the last 20 years, after the multifiber agreement and with the relocation of production to countries with cheaper labor. However, the textile and clothing sector, although belonging to the same chain differ from each other, capital intensive versus labor intensive. The objective of this investigation is to answer a main question: What competences, from a practical point of view, are necessary for the Portuguese garment exporting industry in graduate students specialized in fashion design and fashion technology? The objective is to know what practical skills the Portuguese clothing exporting industry needs, as well as the necessary relationship between the various techniques in the learning phase that contribute to the development of a value-added fashion product. To answer this question, a program of visits/ classes in companies was developed with students in the fashion design specialization, to sensitive them of the needs of the industry and was developed a program of collaboration between two curricular units: pattern making and garment manufacturing. A practical lesson plan for two curricular units was developed for two groups of 25 students. Were also interviewed 10 entrepreneurs from the sector, about their needs and deficiencies in terms of qualified staff in the area. It is concluded that, after contact with companies in the sector and in a classroom model in the company, students show changes in behavior regarding the commitment and acquisition of technical skills. The interconnection between the two curricular units also allowed students to validate the results of their practical work, in the image of industrial model. It is also concluded that the contribution of teachers with recent experience in the clothing industry is essential in the contribution of student’s acquisition of skills to the labor market of the Portuguese clothing industry.
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Guedes, Graça, Aline Guimarães Fernandes, and António Dinis Marques. "The Fashion and the City: Porto Case Study." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-aepg82.

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Fashion, as a simultaneously cultural and global phenomenon, has become an attractive factor in many cities, particularly the large metropolises where it assumes a prominent role, as in Paris, London, Milan, or New York. In countries where fashion does not assume notoriety and global prestige, there is an emergence of fashion movements more associated with local cultural characteristics, which are used by fashion designers as sources of inspiration and differentiation.In major cities, world-renowned designers and brands take on recognized importance, and the attractiveness that fashion districts have on visitors is notorious. In smaller cities, however, generally associated with cultural and artistic heritage, fashion appears in some places as a specific offer, marked by originality and differentiation of historical roots or inspired by local culture. The interest in fashion, in general, leads the management of territories to associate the local dynamics of fashion creation with shopping tourism, creating specific itineraries and infrastructures, in an attempt to follow the example of the big cities and, thus, develop the fashion business by increasing the reasons of interest to visitors.The study aims to analyse the dynamics of development of the fashion business in medium-sized cities with strong tourist attractiveness, to design a territory management model that maximizes the notoriety of local fashion, and stimulates economic activities directly and indirectly related to fashion.
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Bang, Anne Louise, Eva Kappel, and Maria Høgh-Mikkelsen. "THE TRIPOD APPROACH: A PEDAGOGICAL TOOL FOR CONCEPT DEVELOPMENT IN FASHION AND TEXTILE DESIGN." In The 22nd International Conference on Engineering and Product Design Education. The Design Society, 2020. http://dx.doi.org/10.35199/epde.2020.61.

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Reports on the topic "120306 Textile and Fashion Design"

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Plummer, Brianna, Eulanda A. Sanders, and Fatma Baytar. Developing a Trend Analysis Instrument to Establish a Taxonomy of Digital Textile Printing Attributes for Costume and Theatrical Fashion Design Use. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1899.

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