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

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

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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2

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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3

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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4

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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7

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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8

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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9

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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10

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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김은진 and 장남경. "Fashion Design for Environment using Pre-Consumer Textile Waste." Research Journal of the Costume Culture 17, no. 2 (April 2009): 225–37. http://dx.doi.org/10.29049/rjcc.2009.17.2.225.

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12

Gordon, Beverly. "Textile Futures: Fashion, Design and Technology, by Bradley Quinn." Design and Culture 4, no. 1 (March 2012): 116–18. http://dx.doi.org/10.2752/175470812x13176523285723.

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13

Cassidy, Tom, Sergei Grishanov, and Weih-Her Hsieh. "Yarn CAD simulation for fashion and textile design education." International Journal of Fashion Design, Technology and Education 1, no. 1 (March 2008): 13–21. http://dx.doi.org/10.1080/17543260801948793.

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14

LAM, Jin. "Co-designing expressive textile arts: student advancements in service-learning." Arts & Humanities Open Access Journal 4, no. 4 (July 14, 2020): 119–28. http://dx.doi.org/10.15406/ahoaj.2020.04.00162.

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This study aims to find out the impact of expressive textile arts practice in co-design process on undergraduate students after taking a series of co-design textile arts and fashion creativity workshops from the service learning subject, “Community Engagement through Expressive Textile Arts and Fashion” offered by the Hong Kong Polytechnic University in 2018and 2019. A total of 38 prototypes had been jointly created by ex-mentally ill persons, people with intellectual disabilities, subject lecturers and undergraduate students during the co-design workshops in these two cohorts. Concepts of ex-mentally ill persons and people with intellectual disabilities in the community, expressive arts therapy, textile arts, expressive textile arts and service-learning subject were introduced in this subject. In the co-design process, students were expected to gain new knowledge and skills after they participated in the lectures, seminars, workshops and mini fashion show of the service-learning subject. In this study, quantitative research method was used to explore the impacts of co-design process on students practicing expressive textile arts with their service recipients. For the results, positive impacts are found on students regard to their participation in this service-learning subject. The main advancements include empowerment and enhancement of community engagement.
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15

Ding, Ding, Fan Zhang, Si Lan, Yu Yao Liu, Si Xuan Li, Xiao Han Xie, and Yi Ching Chen. "Review of Materials for Origami in Fashion Design." Advanced Materials Research 821-822 (September 2013): 790–93. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.790.

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With the development of textile engineering, different choices of materials and fabrics for origami art have now become possible, however the variety situates origami designers in an issue of materials selection. This paper reviews current materials for origami and described the characteristics of optimal fabrics.
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16

Dai, Zhaojue. "Research On Digital Design Customization and Industrialization Application Path of National Trend Clothing." Academic Journal of Science and Technology 4, no. 2 (January 4, 2023): 54–57. http://dx.doi.org/10.54097/ajst.v4i2.3902.

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"Guocao" is the external expression form of Chinese culture confidence, from the development of Chinese elements to Chinese products and then upgrade to Chinese brands, and finally toward the Chinese tide brand, has been conscious of the creative concept of patriotism deeply rooted in the hearts of the people. Among them, the key is to integrate Guocao textile and clothing brand design into digital technology quickly and to organically integrate Chinese traditional excellent culture with Guocao brand digital design and customization. According to the development environment of the fashion industry and the consumer groups of Guocao in combination with the specific digital design and performance examples of the fashion industry, through the original design of the story of the Dongfang series of fashion brands, the path of the digital design and customization of the fashion industry is proposed, the background of the digital assets of the fashion pattern database is built, and the digital avatar database is built with the customer groups of Guocao brand as the channel. Based on customer terminal demand, the original design of national fashion, further promote the deep integration of fashion brand digital design customization and textile and clothing brand promotion, to achieve digital empowerment of national fashion.
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17

TANZIL, MARINI YUNITA. "PENERAPAN INSPIRASI FAUNA DAN FLORA SUMATERA TERHADAP PERANCANGAN MOTIF TEKSTIL KONTEMPORER." Serat Rupa Journal of Design 2, no. 2 (July 25, 2018): 130. http://dx.doi.org/10.28932/srjd.v2i2.781.

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Indonesian has a very rich, unique, and priceless biodiversity and natural resources. Featuring this national treasure is the aim of this research, especially the fauna and flora endemic to Sumatra Island. This research is executed through descriptive qualitative method by exploration and literature study for the first stage and design implementation for the second stage. The first stage contains exploration on Sumatran flora and fauna, batik motifs, contemporary textile design, color composition and trend. The finding of the research is presented at the second stage through contemporary textile motif as the design implementation that can be applied to fashion products. Expectantly, this research can provide guideline and inspiration for textile and fashion designers in developing contemporary textile motifs that take inspirations from the nature and culture of Indonesia.
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18

Chung, Ha Jeong, and Juhee Park. "Fashion-textile Design Applying the Formative Principle of Paisley Ornament." Journal of the Korean Society of Costume 70, no. 4 (August 31, 2020): 20–40. http://dx.doi.org/10.7233/jksc.2020.70.4.020.

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19

Sun, Mengjie. "Research and Application of Biomimetic Textile Materials in Fashion Design." IOP Conference Series: Earth and Environmental Science 440 (March 19, 2020): 022069. http://dx.doi.org/10.1088/1755-1315/440/2/022069.

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20

M.C., NG, Frankie, HU Jinlian, SZETO Yu-cheung, and WANG Xueqin. "Integrated Design of Seamless Fashion in Woven Textile with Multilayer." Research Journal of Textile and Apparel 11, no. 2 (May 2007): 67–74. http://dx.doi.org/10.1108/rjta-11-02-2007-b008.

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21

윤지일 and Lee Youn Hee. "Rusty Images Applied Fashion Design - For Digital Textile Printing Method -." Research Journal of the Costume Culture 18, no. 5 (October 2010): 1003–16. http://dx.doi.org/10.29049/rjcc.2010.18.5.1003.

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22

Lee, Chai Young. "Development of Fashion Textile Design Based on Brutalism Expression Characteristics." Journal of Basic Design & Art 23, no. 6 (December 31, 2022): 367–82. http://dx.doi.org/10.47294/ksbda.23.6.25.

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23

ÇORUH, Ebru, and İlknur TERLEMEZ. "EXAMPLE OF INTERPRETING THE PAZIRIK CARPET PATTERN IN SUITABLE WITH FUTURIST ART CURRENT PROCESSES AND INSPIRED DESIGN EXAMPLE." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 1 (April 15, 2022): 183–98. http://dx.doi.org/10.46291/zfwt/140115.

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Futurism, which defends technology, ignores the past, rejects museums, praises the machine, and is the biggest of the roads leading to abstract art, is constantly in pursuit of freedom and innovation. Futurism is a movement that emphasizes dynamic energy in the field of design, literature and art. Futurists have been influential in many fields of art such as architecture, music and fashion in order to change the world. The Pazirik carpet, which conveys the traces of the past as a message to the future, contains traces of the futurist art movement with the meanings found in the motifs. The motifs found on the pazirik carpet, which were discovered in the fifth kurgan on the foothills of the Altai Mountains, inspired the works created by adopting a futuristic understanding of art, and the products produced in the field of fashion and textile design. In this context, futuristic, dynamic, ostentatious and technology-used products have been given in the field of fashion and textile design, where works are given with a futuristic understanding of art. The aim of this study is to use three-dimensional printer technology in the field of fashion and textile design, to give information about the stages of the fashion product produced using three-dimensional printer technology, to interpret the pazirik carpet, which carries the traces of the past in the motifs on it, by adopting a futuristic understanding, and to use the product with three-dimensional printers called the technology of the future. by making the design and placing it on the ready-made garment. With a futuristic approach, the idea of reinterpreting the pazyryk carpet pattern and obtaining original designs is aimed to inspire designers and researchers who work in the field of fashion and textile design. Keywords: Pazırık carpet, carpet motifs, futurism, three(3) dimensional printer
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Cao, Fei, Jian Ping Shi, Xian Yan Liu, and Chang Sheng Zhang. "Modern Home Textiles Database Query System." Advanced Materials Research 175-176 (January 2011): 398–401. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.398.

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This study made a discussion of the exploitation and application of home textile bedding data-base design. The target is to closely follow the International Textile Fashion trend and to design a lot of world-class home textile bedding products. This article bases on the practicality of the textile bedding design. Database is divided into three modules: style classification database, design theme classification database and the processing technology database. In a comprehensive basis of market research, database is using VB programming language and Access database development tools. Because it has the function of flexible, quickly and accurately find the technical parameters, design styles and product styles and other related information of the processing. There are many descriptions, pictures, process technology and so on of home textiles bedding in the data-base. From the data-base, designers can easily inquiry the color, variety, fashion, style, function, process technology etc. Then, designers can exchange and innovation by using what they inquiry from the database. Through the innovation, home textile enterprises enhance the market competitiveness. It’s conducive to improve the overall development of textile industry by the data-base.
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25

D’Itria, Erminia, and Chiara Colombi. "Biobased Innovation as a Fashion and Textile Design Must: A European Perspective." Sustainability 14, no. 1 (January 5, 2022): 570. http://dx.doi.org/10.3390/su14010570.

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Fashion industry investments drive the choice for textile solutions characterized by radical experimentation and a firm commitment to sustainability. In the last five years, textile innovations have been strongly related to biobased textile solutions evolving to become effectively feasible and strategic. The produced qualitative knowledge implementations consider new production patterns, innovative technical and digital know-how, and new consumption scenarios. The directions the industry is tracing may provide new opportunities for future textile development in the circular biobased economy. This paper presents a map of current European practices. It discusses the possible passage through a holistic paradigm that goes beyond the boundaries of the old productive systems to accompany the sector towards a new sustainable and transversal state. It also presents three selected best practices that return the actual context in which the phenomenon occurs. A model is presented to demonstrate how these circular processes of biobased materials production enable more process innovations which are developed through implementing the process itself: companies’ search for rethinking and implementing the traditional practices or designing new ones (as determined by the doctoral research of one of the authors).
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Esparza, Ryan. "En Vogue: The Risks of Brexit to the European Fashion Industry." International Journal of Legal Information 46, no. 3 (November 2018): 163–75. http://dx.doi.org/10.1017/jli.2018.37.

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Coco Channel, Yves Saint Laurent, Gianni Versace, and Thomas Burberry, all iconic names that are synonymous with fashion and the fashion industry. Further, they are all European designers. From Paris Fashion Week to Milan Fashion Week, Europe is arguably the center of emerging fashion. It can be theorized that the reason for strong intellectual property rights within the European Union (EU), in the area of fashion design, is due to the significance of the fashion industry within Europe. Within the EU, there has long been a recognition of the significance of design protection, which sets its IP protection apart from other places in the world. Several of the protections that the EU has implemented can be traced back historically to attempts by the countries in the region to protect their textile markets, and to protect regional innovations which were being developed within early textile industries. Even in the early stages of the EU's history, there were attempts to create uniformity within the area of design. The desire to create uniformity in this area is continuous, but Brexit threatens a path towards uniformity.
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Arikan, Cihat Okan, Samet Doğan, and Deja Muck. "Geometric Structures in Textile Design Made with 3D Printing." Tekstilec 65, no. 4 (January 5, 2023): 307–21. http://dx.doi.org/10.14502/tekstilec.65.2022092.

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3D printing is a well-known technology for producing 3D objects by depositing successive layers of material. Among its many applications, the fashion industry has taken advantage of this technology to revolutionize its brands. Due to the unique properties of textiles, such as comfort, flexibility, etc., attempts have been made to create textile-like structures. Structures with different geometries were designed and printed using different materials ranging from rigid to flexible. In this study, three different basic geometric structures were designed using the Blender program (a free open-source 3D modelling software). Each geometric structure was designed in two different sizes with smaller and larger basic structural elements. In this case, six different models were created. The aim of this study was to compare the textile-like surfaces of different basic geometric shapes produced with 3D printers. It also aimed to investigate the use of surfaces designed with basic geometric shapes in the textile-like material for fashion industries. In the production phase, the fused deposition modelling (FDM) process was chosen, and ABS and TPU materials were used. Various tests were performed, such as weight tests, and tensile and flexural strength tests on models with different basic geometric shapes and sizes. An examination of the test results showed that the different geometric shapes of the various basic structures and the different materials used have an overall effect on the final properties of the structures. It was concluded that the obtained results can be used as a reference and could be helpful for researchers in the use of 3D printers in the textile-like material and fashion material industries.
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Zhang, Jun Hua. "The Historical Origin between Shandong Folk Art and Modern Fashion Design." Advanced Materials Research 1048 (October 2014): 250–53. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.250.

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Shandong folk art, full of artistic connotation, has a long history, which is an important source of fashion design. This article makes an analysis of the specific application and embodiment about the Shandong folk art elements in modern fashion design fabrics, styles, colors from the Shandong traditional paper-cut art, ceramics, painting, textile technology and fashion design style, and so on. At last, it puts forward the viewpoint of drawing lessons from the traditional folk art the creation of humanity, design pattern and heritage enrichment in the modern fashion design.
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Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.
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TJANDRAWIBAWA, PAULINA. "MOTIF TEKSTIL SEBAGAI VALUE PROPOSITION KOLEKSI BRAND FESYEN YANG MARKETABLE." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 26. http://dx.doi.org/10.28932/srjd.v2i1.475.

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Fashion industry in Indonesia is increasing from year to year and so does the competition between fashion brands. The Indonesian Creative industry players by 2020 to grow by 8.4 million and dominated by young adults. With the many fashion brands that emerge, a brand needs more value propositions to make their product stand out and marketable. This journal will present how graphic motif on textile can be used by fashion brands as their product’s value proposition and convert it into marketable products. Research method will be presents through qualitative method in the form of direct interview with fashion brand owner and supported by literature study and observation. This writing aims to help fashion business owners to comprehend the design concept as value position for their collection. Keywords: fashion, motif; pattern; textile; value proposition
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Nobler, Leslie. "African Pattern, Identity, and Relevance in Contemporary Textile and Fashion Design." International Journal of Design in Society 15, no. 1 (2021): 45–58. http://dx.doi.org/10.18848/2325-1328/cgp/v15i01/45-58.

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32

Park, Sang Oh, Jung Ju Lee, and Eun Ha Kang. "A Case Study of the Skeuomorphism Textile Design in Modern Fashion." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 23, no. 3 (September 30, 2017): 319–32. http://dx.doi.org/10.18208/ksdc.2017.23.3.319.

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33

Gong, Lin, and Jooyoung Shin. "The Innovative Application of Surface Texture in Fashion and Textile Design." Fashion & Textile Research Journal 15, no. 3 (June 30, 2013): 336–46. http://dx.doi.org/10.5805/sfti.2013.15.3.336.

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34

Taylor, Andrew, Ertu Unver, and Graham Worth. "Innovative potential of 3D software applications in fashion and textile design." Digital Creativity 14, no. 4 (December 2003): 211–18. http://dx.doi.org/10.1076/digc.14.4.211.27880.

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35

Özüdoğru, Şakir. "Call for rethinking on fashion design education in the era of post-pandemic: insights from Turkey." Revista de Ensino em Artes, Moda e Design 6, no. 1 (February 1, 2022): 1–15. http://dx.doi.org/10.5965/25944630612022e1432.

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In this study, the benefits and challenges of remote education in textile and fashion design are examined. The case of the study is Department of Textile and Fashion Design, Faculty of Architecture and Design in Eskişehir Technical University, Turkey. The data is collated through many assessment meetings with academics, students, and top management held during and after the pandemic, as well as personal experiences as a manager and faculty member, plus varied unstructured interviews with academicians, undergraduates, management, and other employees. The meeting and interview notes were transcribed and analyzed by descriptive analyses. As the result, critical insights from various aspects and a SWOT analysis of remote education activities performed during the pandemic are provided.
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JASMINKA, KONČIĆ, and ŠČAPEC JOSIPA. "3D print additive technology as a form of textile material substitute in clothing design – interdisciplinary approach in designing corsets and fashion accessories." Industria Textila 69, no. 03 (July 1, 2018): 190–96. http://dx.doi.org/10.35530/it.069.03.1430.

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This research paper enquires into the application of 3D print additive technology in fashion design. The research aims to find the design options for garments by substituting the textile material with new technological solutions. The focus of the paper is the interdisciplinary research of innovative corset and fashion accessories designs made using 3D print additive technologies. The main focus of the work is the interdisciplinary process of creating clothes ranging from preliminary sketches to prototypes within three different areas: contemporary art, fashion design and additive technology.
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Craik, Jennifer. "Challenges for Australian fashion." Journal of Fashion Marketing and Management 19, no. 1 (March 9, 2015): 56–68. http://dx.doi.org/10.1108/jfmm-03-2014-0017.

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Purpose – The purpose of this paper is to examine the challenges facing the Australian fashion industry (textile, clothing and footwear or TCF sector). Just at the point where Australian fashion has achieved international attention for its distinctive design practice, the industry is on the point of collapse. Since the 1980s, radical re-structuring aimed at reducing industry protection to encourage greater international competitiveness and innovation. Key policies have included tariff reduction, new forms of industry assistance, new manufacturing techniques, changing retail forms, and reform of employment and workplace conditions. Design/methodology/approach – Overview of recent trends in the Australian fashion industry due to industry policies and the effects of globalisation. Findings – Severe decline in industry viability. Originality/value – Important multifaceted analysis of the state of the industry and tracking of effects of government policies.
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Scott, Kirsten, Jonathan A. Butler, Karen Spurgin, and Prabhuraj D. Venkatraman. "Restorative fashion: Collaborative research, benign design and the healing powers of the mutuba tree." Journal of Applied Arts & Health 13, no. 3 (December 1, 2022): 357–72. http://dx.doi.org/10.1386/jaah_00116_1.

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The potential of a radically Indigenous and endangered textile to improve human well-being and environmental health is the subject of an ongoing cross-disciplinary and multi-faceted research project between the United Kingdom and Uganda. This article presents the researchers’ findings to date on Ugandan barkcloth, produced from the mutuba tree and part of the Intangible Cultural Heritage of Humanity. Methods included fieldwork in Uganda, natural dye experiments, testing a biodesign strategy, textile laboratory testing and scientific laboratory testing of the unique antimicrobial properties of barkcloth. Although beginning with artistic, practice-based research, the group uncovers important knowledge that may provide significant medical science benefits. They identify the central role of the mutuba tree in restorative and agroforestry systems; create natural dyes that may confer barkcloth’s properties to other materials. Thus demonstrating barkcloth production as a truly slow fashion textile and well-making system that promotes the well-being of people and planet in multiple ways.
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Chauhan, Megha. "Navigating ‘modernization’ in craft: Artisan-designers in Gujarat, India." International Journal of Fashion Studies 9, no. 2 (October 1, 2022): 299–316. http://dx.doi.org/10.1386/infs_00073_1.

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Discourses on traditional textile and craft practices, focusing on participatory and emancipatory approaches, disregard epistemologies and ontologies other than that of the researcher and invest in reformation, through new technology and modernization, of traditional practices. While these mainstream narratives have ignored the presence of non-western realities, this article takes the example of Somaiya Kala Vidya, a design institute based in Kutch, India, that provides traditional textile artisans with design education for capability-building, enabling sustenance in the current fashion paradigm: a product of systematic erasure of local systems by the West. Artisans exposed to design education display unique creative identities alongside their collective cultural identities. They challenge fashion hegemonies by navigating the tensions between ‘perceived’ local and global, modernity and tradition. The study brings forth the complexity of modernization processes; a by-product of design education, resulting in the deconstruction and reconstruction of traditional knowledge in the community. This examination of creative identities, aspirations and traditional knowledge of artisans demonstrates the need of decolonizing the fashion industry’s approach to the craft ecosystem, contributing to an essential discussion of pluralistic realities.
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Viziteu, Diana-Roxana, and Antonela Curteza. "3D PRINTING TECHNOLOGY IN TEXTILE AND FASHION INDUSTRY." Fashion Industry, no. 3 (January 14, 2021): 41–44. http://dx.doi.org/10.30857/2706-5898.2020.3.2.

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The extraordinary thing about the application of 3D printing technology is that it can be used to create accessible items customized to personal needs. In the fashion industry, there is a need for individualized protective equipment. The possibility of applying new technologies such as 3D modelling of protective elements that can be made by using 3D printers is presented in this paper. 3D modelling and additive technologies (3D printing) can be used in the development of protective work clothing. The fabrication process only requires the digital fi le with the 3D model and the right material - we chose to use thermoplastic polyurethane (TPU).The design samples were constructed and modelled using a software program called Rhinoceros. The samples can be integrated into the clothing item, in order to follow the body shape and to provide the necessary protection. Purpose. This paper aims to explore the applicability of 3D printing materials using thermoplastic polyurethane (TPU) for the development of protective gear. Scientifi c novelty. 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. Practical value. One of the most signifi cant 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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He, Yutan. "An Experiment-based Study on Bioplastic Applied to Fashion and Textile Design." Journal of Fiber Bioengineering and Informatics 14, no. 3 (June 2021): 157–71. http://dx.doi.org/10.3993/jfbim00379.

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Souza, Matheus Miguel de, and Maria Silvia Barros de Held. "Artistic Aspects Of Portuguese Tile Through Textile And Surface Design In Fashion." ModaPalavra 12, no. 23 (November 20, 2018): 45–72. http://dx.doi.org/10.5965/1982615x12232019045.

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Huang, Xin. "How Is Fashion Going: Structured Literature Review for Circular Economy in Fashion and Textile Industry." Frontiers in Business, Economics and Management 3, no. 3 (May 12, 2022): 114–18. http://dx.doi.org/10.54097/fbem.v3i3.358.

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In a time of global warming, sustainability claims are prevalent in the fashion and textile industry. Fashion industry is experiencing a shift from a linear economy to a circular economy. The circular economy shift in fashion textiles, however, has very many dilemmas due to the close connection with its value chain. This paper will take the form of a literature review to discuss the methods used in transforming the circular economy in fashion and textiles and the dilemmas it faces, as well as the social issues arising from the transformation, from the design to the distribution to the recycling of a fashion item.
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Na, Youngjoo, and Dong Kyu Na. "Investigating the sustainability of the Korean textile and fashion industry." International Journal of Clothing Science and Technology 27, no. 1 (March 2, 2015): 23–33. http://dx.doi.org/10.1108/ijcst-08-2013-0085.

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Purpose – Fashion and textile industry has confronted to participate with the sustainable industry and society proactively not by the government regulations, but by the shareholders or consumers driven with corporate social responsibility. The purpose of this paper is to consider methods applied for the sustainability of products according to Korean domestic fashion and textile companies and clothing types and to investigate the limitation of current sustainability methods of companies. Design/methodology/approach – The study used document analysis and case studies of 396 companies. The study looked into newspapers, monthly magazines, and publications of fashion companies and internet web sites of almost every possible type that have been issued to date and analyzed the previous studies as well. Findings – The companies’ strategies are of three groups, the uses of environmental friendly materials: 36.9 percent (natural fibers, recycled fibers and biodegradable fibers), apparel reuse: 4.5 percent (remodeling/alteration and transform/combination with more materials), and eco-marketing promotions: 58.6 percent. For women’s and casual wear section, the methods used with organic materials and the green-campaign messages appeared frequently, while in the men’s wear section, coolMapsi, 0or warm OnMapsi for business wear did a lot for the low indoor energy consumption, such as no neck-tie in the hot season or wearing underwear in the cold season. Originality/value – Fashion and textile products have provided the key solutions for the generation’s happiness, identity, value, self-realization, health and role. There have been the low quality and similarity of fashion products from mass production and high speed and we should consider sustainability for the next generation and society. But the current problem in the industry is that most of eco-product developments are only short term. Also, from the high cost of eco materials and processes, there is a limited portion of sustainability section among total products and low design quality of fashion or the low profit outcomes.
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Hanna Lumban Gaol, Nancy. "KAJIAN MOTIF BATIK GONGGONG CV LAWANA DI TANJUNG PINANG." Ornamen 19, no. 1 (November 30, 2022): 17–33. http://dx.doi.org/10.33153/ornamen.v19i1.3904.

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Gonggong CV Lawana in Tanjung Pinang using a textile design method approach. This research is formulated in one question "How is the design of the Batik Gonggong motif in the Production of Batik Gonggong CV Lawana, Tanjung Pinang with a textile design method approach through aesthetic, material, process, function, and fashion aspects?". This research uses a descriptive qualitative research method with a textile design method approach. Data analysis techniques using interactive analysis models include data reduction, data presentation, and concluding. The results of the research reveal the stages that are passed in designing based on aesthetic aspects, materials, process functions, and supporting aspects, namely fashion. (1) The aesthetic aspect that is considered in the main and supporting motifs, especially the main motif of Batik Gonggong CV Lawana has identical characteristics with the character of a snail shell that bulges in its belly. (2) The material aspect is a consideration in selecting the type of yarn fiber, the structure of the weave, nature and absorption capacity or suitability of the fabric as well as the different alternative fabrics for stamped and written batik products. (3) The process aspect of Batik Gonggong begins with determining the design from the main source of inspiration, the shell of the barking snail, the design will go through a sublimation process, then continue to be produced in certain quantities. (4) Functional aspects are related to consumers who use the product as a choice of use, as regional souvenirs, uniforms, and fashion. (5) The fashion aspect is found in the development of motifs through three periods ranging from natural suggestion patterns, creative patterns, and combined patterns. The development of the coloring technique, namely gradation is done by brushing using a sponge with a combination of giving light and dark colors which when soaked will fade and produce a gradation effect.
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Radclyffe-Thomas, Natascha. "Rescuing textile waste: Q&A with Dr Christina Dean, founder and board chair, Redress." International Journal of Sustainable Fashion & Textiles 1, no. 1 (April 1, 2022): 149–58. http://dx.doi.org/10.1386/sft/0007_7.

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Environmental pollution caused by textile waste is an increasing and urgent issue for the global fashion industry. Redress is a pioneering NGO working since 2007 to minimize fashion’s negative impacts and promote a more sustainable industry through circular economy practices including zero-waste design and upcycling. In this interview, Professor Natascha Radclyffe-Thomas of the British School of Fashion invites Redress Founder Dr Christina Dean to share insights into their innovative industry, consumer and education initiatives including the Redress Design Award, the world’s largest sustainable fashion competition and a new luxury social impact business The R-Collective accelerating sustainability and circularity by rescuing, reusing and recycling luxury and premium waste materials.
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Saidan, Suriati, Husna Saaidin, Wan Nadhra Ixora Wan Kamarulbaharin, Norzaleha Zainun, and Mohd Hafnidzam Adzmi. "Muslimah Design Trends Through The Role Of Fashion Forecasting." Idealogy Journal 7, no. 1 (April 1, 2022): 31–40. http://dx.doi.org/10.24191/idealogy.v7i1.331.

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Muslimah fashion design nowadays is a fashion trend that is the best alternative for Muslim women who want to cover their aurat with an attractive style. With a variety of options, Islamic clothing is not considered conservative or outdated. Therefore the form of fashion design should be more contemporary and in accordance with Islamic characteristics and suitable for use by all nations. In this paper the researcher will look at the fashion forecasting process used in the production of Muslimah clothing. Fashion trends are an important element in determining the concept of clothing design. As a trend forecasting concept, several things have a significant impact on the fashion industry. The ability to forecast trends in fashion, technology, and culture is a critical area of ​​the marketing industry dedicated to identifying patterns of consumer behavior while helping companies and brands connect with audiences. Fashion trends are styles of clothing and accessories that are popular at a particular time. It will affect the popularity and lifestyle for example through the use of colors and fabrics used. Fashion forecasters will do research somewhere to find out new trends and try to bring some new ideas about the brand. It requires scientific skills and creative concepts. Thus, fashion forecasting is a field in the fashion industry that is concerned with predicting upcoming fashion trends in terms of colors, design techniques, textile materials, and more that lead to consumer demand. Fashion forecasters produce trend reports that are used to develop a brand for the production of a product. In the process of making designs, designers need to pay attention to fashion predictions which in addition to having Islamic characteristics, the design can be comparable to international designs.
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Silva, Augusta, Helena Vilaça, Jéssica Antunes, Ashly Rocha, and Carla Silva. "Textile bio-based and bioactive coatings using vegetal waste and by-products." Base Diseño e Innovación 7, no. 7 (December 30, 2022): 57–70. http://dx.doi.org/10.52611/bdi.num7.2022.801.

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This work aimed to fulfil one of the great consumer trends related to ethically and environmentally sustainable attitudes. The main concept was to develop an alternative material to natural and synthetic leather by creating new bio-coated textile structures with improved environmental credentials, and to use vegetable wastes and by-products from agroforestry industries, as well as biopolymers. Different residues, such as sawdust and pine bark were successfully incorporated in polymeric aqueous formulations and applied as textile coatings. The Life Cycle Assessment of these new textile products showed that they present a lower environmental impact in comparison to natural leather used for clothing and shoe applications. Overall, the alternative material developed here is a favourable sustainable material. The use of by-products to create bio-based materials comprises a great potential for a broad spectrum of applications in other fields in the Textile and Clothing Industry such as fashion, eco-design, sports and protection apparel, furniture decoration, home textiles, footwear, fashion accessories, in addition to others.
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Chung, Ha Jeong. "A study on the modern aestheticization of fashion-textile design: focusing on the modernity of Georg Simmel." Korea Institute of Design Research Society 7, no. 3 (September 30, 2022): 318–32. http://dx.doi.org/10.46248/kidrs.2022.3.318.

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Georg Simmel is a thinker who implied the phenomena and interrelationships of society, culture, and art at the center of human beings in the modern era of the 19th century when the monetary economy of capitalism was intensively revealed. Among his extensive discourses on modernity, 'Cultural Philosophy' and 'Sociological Aesthetics' focuses on the value of human essence, and his research provides fundamental concepts necessary for the study of human awareness as a designer in the contemporary digital-based industry. Through the design methods and processes universally developed in the fashion-textile design studio, the researcher's design thinking and behaviors are drawn from the perspective of Simmel's 'cultural philosophy' and 'sociological aesthetics', and based on this, the results of discussing the creative style and behavior that a designer should have for the modern aestheticization of fashion-textile design are as follows. First, according to the fashion market economy, research is carried out in consideration of the group to which the designer belongs. According to the purpose, direction, process, and role of the designer, design research is conducted by understanding the times and expanding historical knowledge. Second, empathize with the public through communication.By following the principle of autonomous competition in the capitalist market, designers understand and accept trends to express free creativity. Third, explore creative behaviors. The internal value of the industry is raised by combining the cultural and aesthetic needs that can survive in the autonomous competition of the expanded fashion industry.
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Zhang, Chao Yang. "Research of Branded Apparel Collaborative Design Based on Product Platform." Applied Mechanics and Materials 644-650 (September 2014): 5730–32. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.5730.

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In the context of Chinese textile and apparel industry revitalization, innovation and technology reformation, building Chinese independent brand system, improving the branded fashion enterprise R&D capabilities by IT integration has become essential for the apparel industry competition. In this context, we focus on introducing the branded apparel collaborative design, the product platform and the methods of branded apparel collaborative based on product platform.
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