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Journal articles on the topic 'Fashion design'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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Smal, Desiree. "Design + Sustainability = Fashion: Sustainable Design Praxis in Fashion." International Journal of Designed Objects 6, no. 3 (2013): 41–47. http://dx.doi.org/10.18848/2325-1379/cgp/v06i03/57925.

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来, 思渊. "Virtual Fashion Design: The Democratiza-tion of Fashion in an Age of Creative Liberation." Design 09, no. 01 (2024): 583–89. http://dx.doi.org/10.12677/design.2024.91070.

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DLA, Edit Csanák. "Fashion Design in ROWE Fashion PLMs." International Journal of Fashion Technology & Textile Engineering 1, no. 1 (January 22, 2019): 1–10. http://dx.doi.org/10.15226/2641-760x/1/1/00107.

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5

N.A., Marzie Hatef Jalil. "Eco-Fashion Design." International Journal of Sustainable Design 4, no. 3 (2022): 1. http://dx.doi.org/10.1504/ijsdes.2022.10044704.

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Black, Sandy. "Fashion Design Practices." Fashion Practice 13, no. 3 (September 2, 2021): 327–30. http://dx.doi.org/10.1080/17569370.2021.1984034.

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Han, Minjae, and Younhee Lee. "Deconstruction fashion design through an analysis of Korean fashion design." Research Journal of the Costume Culture 30, no. 1 (February 28, 2022): 66–87. http://dx.doi.org/10.29049/rjcc.2022.30.1.66.

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Hatef Jalil, Marzie, and Siti Shukhaila Shaharuddin. "Fashion Designer Behavior Toward Eco-Fashion Design." Journal of Visual Art and Design 12, no. 1 (July 6, 2020): 1. http://dx.doi.org/10.5614/j.vad.2020.12.1.1.

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吕, 志雯. "The Application of Surrealism in Modern Fashion Design." Design 08, no. 02 (2023): 257–63. http://dx.doi.org/10.12677/design.2023.82036.

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王, 欣琦. "Fabric Reconstruction and Its Application in Fashion Design." Design 08, no. 01 (2023): 59–64. http://dx.doi.org/10.12677/design.2023.81009.

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Coruh, Esen. "Teaching technical specifications in fashion design education." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 256–63. http://dx.doi.org/10.18844/gjhss.v2i1.319.

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12

Choi, Kyung He. "Fashion Design Development Process Using Transparency of Superimposition - Focused on Fashion Illustration and Fashion Design Works -." Journal of The Korean Society of Fashion Design 15, no. 3 (September 30, 2015): 69–85. http://dx.doi.org/10.18652/2015.15.3.5.

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Chui, Y. T., and Gail Taylor. "Interactive Fashion Featuring of Sound in Fashion Design." Research Journal of Textile and Apparel 16, no. 4 (November 2012): 1–13. http://dx.doi.org/10.1108/rjta-16-04-2012-b001.

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Melkova, Svetlana. "Fashion design within the structure of contemporary design." Культура и искусство, no. 3 (March 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.3.32432.

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The object of this research is fashion design as one of the new directions in design. Design is constantly developing due to broadening of its area of application and people demonstrate new ideas and demands. The subject of this research is the conceptual-terminological apparatus of fashion design. The author reveals the content of the new concept of “fashion design” that reflects vast proliferation of design activity generated by fashion, including costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashionable brands, etc. The foal of research consists in systematization of sketchy theoretical data on fashion design as a new trend of design. The scientific novelty consists in interpretation of the term “fashion design” and determination of its role within the structure of contemporary design. The conducted research allows identifying close connection of this concept with costume design and graphic design. The presented materials can be used in teaching professional disciplines of “Graphic Fashion Design” and “Project Design” to graphic designers and fashion designers. The research results found application in educational process of future designers in Kemerovo State Institute of Culture.  

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常, 冉. "Research on Fashion Scarf Design Based on Surrealist Style." Design 08, no. 04 (2023): 2205–12. http://dx.doi.org/10.12677/design.2023.84266.

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Kapoor, Deepa. "Fashion Designing & Fashion Trends in Current Scenario." International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 31, 2023): 1491–94. http://dx.doi.org/10.22214/ijraset.2023.48852.

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Abstract: This research is clear about the fashion related to humans and their lives. This collection is sourced from field visit books and the internet. The fashion industry has changed a lot over the years. Fashion houses are no longer working with two collections per year - Fall/Winter and Spring/Summer. Multiple fashion professionals are working with multiple collections and deliveries every season. They are constantly inventing new ideas and creating new products to meet the aspirations of their customers. 'Fast fashion' companies are successfully using a variety of strategies to reduce production times, increase their competitive advantage, and accelerate the design process. This research project was undertaken to examine the relationship between the designer's ideas, the innovative design of the product and the aspirations of the consumer. The rapid economic development, multi-cultural fusion, attention-grabbing and high-fashion logo clothing design reflect and add integration requirements of a variety of elements, for diverse development, which makes these designers stand out among other fields. The essence of need to get inspiration for new design idea is called art. The exploration of abstract painting forms characterized by clear nature, form, color, expression and new aesthetics can bring new strength to fashion design, so as to promote. In order to develop innovative and diverse fashion designs, this paper describes upcoming garments, features of abstract art, all focusing on the analysis and study of fashion design abstract expression, respectively, by the three aspects of the color of the dress design, form, effect of the essence art on modern fashion design, in the context of the application of modern and organic Along with achieving his mastery in clothes, there is a change in the dress style. In this paper, an attempt has been made to identify opportunities for future research and to advance fashion practices.

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17

Petrov, Julia. "Fashion and Design Gallery." Dress 46, no. 2 (July 2, 2020): 175–78. http://dx.doi.org/10.1080/03612112.2020.1787594.

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Almond, Kevin. "Zero Waste Fashion Design." Fashion Practice 10, no. 1 (September 18, 2017): 119–23. http://dx.doi.org/10.1080/17569370.2017.1358416.

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19

Biaett, Vern. "Fashion, Design and Events." Tourism Management 50 (October 2015): 57–58. http://dx.doi.org/10.1016/j.tourman.2015.01.014.

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20

Filieri, Juri, Elisabetta Benelli, and Francesca Filippi. "Fashion Design and Art." Fashion Highlight 1, no. 1 (July 31, 2023): 88–95. http://dx.doi.org/10.36253/fh-2265.

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Observing the 20th century, it becomes clear how much the definition of fashion as an inferior reflection of art is definitively outdated, in favour of a more complex and equitable relationship of mutualistic inference that places fashion within the ranks of the arts of modernity. Fashion has always utilised art in its rhetoric and draws on an innumerable series of expressions and idioms, contending with art for the esteem and social prominence accorded to high culture. The granted and denied relationship with time appears central in the definition of similarities and differences, essential to understanding mutual inferences and distinctive qualities in today’s increasingly complex and nuanced picture. While fashion constantly seeks (otherwise risking its very existence) a vector of engagement with the real experience of the public and with time (“con-tempo-raneo”), art lives on visionary paradoxes, on a higher spiritual need, translated into form.

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21

Yi, Bingqing. "Fashion Design and Globalisation." Research on Literary and Art Development 2, no. 4 (2021): 10–15. http://dx.doi.org/10.47297/wsprolaadwsp2634-786502.20210204.

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22

Sprynskyj, Denise, and Peter Boyd. "Fashion Design Process: SIX." Scope: Contemporary Research Topics (Art & Design), no. 25 (2023): 78–80. http://dx.doi.org/10.34074/scop.1025011.

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23

Kim, Sung Hyon, and Min-Ja Kim. "Applying TRIZ Theory to Fashion Design - Focused on Rei Kawakubo's Fashion Design -." Korean Society of Costume 62, no. 7 (November 30, 2012): 79–96. http://dx.doi.org/10.7233/jksc.2012.62.7.079.

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24

Fenton, Veronica. "THE NEUROAESTHETICS OF FASHION DESIGN." International Journal of Research -GRANTHAALAYAH 9, no. 4 (May 5, 2021): 343–52. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3869.

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Close your eyes and imagine that you are in an art museum. You look over your right shoulder and see a painting of a lush garden landscape. Try to investi- gate it further. Observe the abundance of pastel-colored flowers, engaging van- tage points and mystical partially hidden pathways.a Then, consider how the landscape makes you feel. Now, keep your eyes closed and imagine another scenario. You are sitting in the front row of Christian Dior’s “The Garden of Earthly Delights” fashion show.b Try to concentrate on the clothing. Observe the plethora of delicate, soft-hued, floral-print gowns. Finally, consider how the fashions make you feel.

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25

Armstrong, Leah. "“Fashions of the Future”: Fashion, Gender, and the Professionalization of Industrial Design." Design Issues 37, no. 3 (2021): 5–17. http://dx.doi.org/10.1162/desi_a_00644.

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Abstract In 1939, U.S. Vogue magazine dedicated its February issue to the promotion of the New York World's Fair, which would open in April 1939, giving significant editorial space to the subject of industrial design for the first time. The issue's leading fashion editorial feature, “Fashions of the Future,” invited nine industrial designers to dress the “woman of tomorrow.” The feature served as a promotional vehicle for the World's Fair and for the industrial designers who worked on it. Through a close examination of the issue's visual and textual content, this article explores the relationship between industrial design, fashion, consumption, and gender at a formative moment in the professionalization of design in the United States at the outbreak of the Second World War. It argues that fashion media served a discursive function in the elevation of the industrial designer's professional status, presenting a case for further consideration of the relationship between fashion and industrial design in the history of the design profession.

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26

Siddiqa, Ayesha. "Revolutionary 3D Design with AI." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 05 (May 21, 2024): 1–5. http://dx.doi.org/10.55041/ijsrem34308.

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The 3D design delves into the creation and deployment of an innovative web experience that seamlessly merges Artificial Intelligence (AI) technology and captivating 3D visuals within a React-based framework. It demonstrates the utilization of AI algorithms for enhancing user interactivity, personalization, and the creation of dynamic 3D elements, fostering a captivating user experience. Embark on a transformative journey into the heart of fashion's evolution, this unveils a paradigm-shifting collaboration between Artificial Intelligence (AI) and 3D cloth design, heralding a new era of creativity and innovation within the fashion industry. This explores the fusion of Artificial Intelligence (AI) with 3D cloth design, revolutionizing the fashion industry's creative landscape. Integrating AI into cloth design processes allows for swift ideation, realistic simulations, and diverse fabric explorations, empowering designers to redefine fashion concepts efficiently. Key Words: AI,3D, Design.

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27

Guo, Tao. "Fashion Design Professional Basis Based on Design Process." Advanced Materials Research 989-994 (July 2014): 5098–101. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.5098.

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In the process of fashion design, design process is very important, and it can be implemented by the computer assistant design software using the 2D&3D modeling technique. Virtual fashion design and simulation involves a combination of a large range of techniques, involving mechanical simulation, collision detection, and user interface techniques for creating garments. In this paper, we study the computer assistant fashion design based on the 2D&3D modeling technique by the design process. We perform an extensive review of the fashion design and its design process, and studied computer assistant fashion design based on the 2D&3D modeling technique.

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28

刘, 佳咪. "Study on the Trend of Scene in Y2K Fashion Design." Design 08, no. 04 (2023): 2394–403. http://dx.doi.org/10.12677/design.2023.84290.

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29

Devetak, Tanja. "Space In Fashion Design – Ƒ2 (Fabiani Fashion) Case Study." South East European Journal of Architecture and Design 2016 (December 17, 2016): 1–6. http://dx.doi.org/10.3889/seejad.2016.10027.

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TThese research inquiries into the transformation of complex architectural spatial objects into contemporary garments by implementing creative pattern cutting as an integrated part of the fashion design process. From the architecture design process, a creative process of generating ideas using the human body as the centre point of the creative process, and an understanding of the envelope around that space were implemented and researched in fashion design. A creative construction method evolved using the standard matrix of basic blocks and implementation of the sculptural work by creating three-dimensional paper garment forms. In this way, garment design is created inside - outside. The resulting garment forms visually articulate meanings arising from the architectural design works of Maks Fabiani regarding structure, historical context, content from within the premises and personal sensory experiences. The envisaged results are highly applicable, but, with a theoretical significance, they also open different views on a fashion design development process. The Ƒ2 (Fabiani Fashion) case study was carried out in 2015 by the author Tanja Devetak.

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30

da Costa Soares, Paula. "Portuguese Fashion Design Emerging Between Dictatorship and Fast Fashion." Fashion Theory 15, no. 2 (June 2011): 225–38. http://dx.doi.org/10.2752/175174111x12954359478762.

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31

Kondakova, Yu. "COLLABORATION OF FASHION AND SCIENCE IN MODERN FASHION DESIGN." Technical Aesthetics and Design Research 4, no. 3 (June 3, 2023): 5–18. http://dx.doi.org/10.34031/2687-0878-2022-4-3-5-18.

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Modern fashion is a zone of influence of the active development of science and technology, embodying the ideas of descience in the creativity of modern designers and contributing to its development. The object of the study is the components of the collaboration of fashion and science as a key trend in modern fashion design – innovation and environmental friendliness. The methodological basis of the research was made up of general scientific methods of cognition, in particular, the system method, comparative and structural-functional approaches, the idea of developing a synthesis of science and fashion. As a result of the research, the author comes to conclusions about the transformation of the human worldview under the influence of the collaboration of science and fashion: along with concern for bodily comfort and attraction to new opportunities when using digital clothing, a person begins to strive for material awareness. Scientific developments make it possible to create new materials, each of which allows designers to embody them in products that affect a change in worldview and allow them to create revolutionary inventions in the technologies of creating clothing and innovative textiles: eco-techno textiles, 3D printing, nanotechnology, electronic textiles, smart materials

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32

.SEENIVASAN, Dr R. "An Economic Study on Fashion Design and Fashion Culture." Journal of Public Administration 1, no. 2 (2019): 50–57. http://dx.doi.org/10.22259/2642-8318.0102007.

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33

Fredriksson, Cecilia. "Retail and Fashion – A Happy Marriage?: The Making of a Fashion Industry Research Design." Culture Unbound 3, no. 1 (April 19, 2011): 43–54. http://dx.doi.org/10.3384/cu.2000.1525.11343.

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Fashion and retail ought to be a happy marriage. Yet several entrepreneurs in the field of fashion speak of a climate that is difficult to penetrate because of economic and cultural factors. For example, the chain store concept is an expression of the specific and current fashion situation in Sweden: democratic fashion that is cheap and accessible. At the same time, customers now demand personal, unique and ethical fashions. However, there are few possibilities in this climate for low cost development in progressive Swedish design. This article addresses the questions of how special trade conditions are reflected in the relationship between fashion and retail, and how different interests and values are expressed in the culture of Swedish fashion. To gain a deeper understanding of diverse working conditions and strategies, this article analyzes the culture of the Swedish fashion business as a narrative of different social and cultural processes. A conclusion drawn is that a cultural perspective on the oppositions between different practices and logics in the fashion business may contribute to mapping and managing these oppositions.

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34

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

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The paper uses the advent of generative AI in fashion to critically examine the tenets of contemporary fashion design. As an exemplary case study, the work of Demna Gvasalia’s at the helm of Balenciaga is critically scrutinized and discussed as the result of the fashion industry’s ever-increasing speed and high demand of products at every price range. Within a hyper-globalized industry, fashion designers are forced to accelerate their design process with low production costs and high profits in mind. Given the systematic denial of fashion design understood as intentional creation by mainstream luxury fashion labels, fashion’s creative process is already heavily revolving around self-reference and copying, much like generative AI. The integration of visual literacy and academic referencing competences in fashion design education are proposed as strategies to break the cycle of copying and self-reference in fashion and to expand, deepen and diversify the practice of fashion design.

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35

Lee, Youn-Hee, Hyun-Ah Lee, and Jae-Ok Park. "Sustainable Slow Design in Contemporary Fashion Design." Journal of the Korean Society of Clothing and Textiles 31, no. 1 (January 31, 2007): 21–32. http://dx.doi.org/10.5850/jksct.2007.31.1.021.

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CETINER, Muazzez, and Naile Rengin OYMAN. "Sustainable Fashion Design and Bag Design Example." Art and Interpretation 1, no. 40 (November 2, 2022): 23–41. http://dx.doi.org/10.5152/ai.2022.1001144.

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37

Choi, Minju, Vu Tran Phuong Anh, and Seonju Kam. "Gorpcore Fashion Design With Life Cycle Design." Journal of the Korean Society of Costume 74, no. 3 (June 30, 2024): 40–53. http://dx.doi.org/10.7233/jksc.2024.74.3.040.

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38

Tse, Florence, T. F., and Catherine Y. P. Chan. "New approach for fashion design." Research Journal of Textile and Apparel 20, no. 1 (March 14, 2016): 53–60. http://dx.doi.org/10.1108/rjta-02-2015-0004.

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Purpose This paper aims to suggest a user-approach to doing style designs for apparel products. Design/methodology/approach A case of the approach to produce a collection of party dresses for mothers-to-be was presented. Two consecutive studies were conducted to understand and identify the needs of contemporary business women for maternity party dresses to attend banquets and functions. In these two studies, direct dialogue with target customers and scene deployment were used to collect the voice of the customer (VOC); affinity diagramming was used to organize the collected VOC data into items that were required by target customers; and the pairwise comparison method of analytic hierarchy process was used to identify important requirements. Findings In using various design techniques and incorporating appropriate fashion elements, style designs were produced with the primary focus on meeting user needs. Originality/value It has been a common practice that marketers do market research and designers do style creation. However, a joint effort of these two parties is required to better understand and address user needs. With the main focus on collecting and analyzing the VOC and organizing it into customer needs before applying various design techniques and incorporating appropriate fashion elements, the style designs that were produced in this case study were highly capable of satisfying user needs.

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王, 孝轩. "The Method and Artistic Value of Stereoscopic Flower Decoration Design in Fashion Design." Design 08, no. 04 (2023): 3305–11. http://dx.doi.org/10.12677/design.2023.84407.

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40

Abed alganee hussen, Salah Abed alganee, and Faten Ali Hussien. "Creative Design of Decorative Additions in Fashion Design." Journal of Techniques 2, no. 2 (June 30, 2020): 38–45. http://dx.doi.org/10.51173/jt.v2i2.176.

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The decorative additions were a distinctive part and a prominent place in fashion design, which produced variants in the context of the form of supplements, whose parts are associated with the design of the costume. The presence of decorative additions may be excessive and may be taken as a predominant form, depending on the creative level of the designer in relation to the physical composition of the addendum, its type, location and methods of showing it in the fashion design of women. "What is the role of decorative additions and their effectiveness in fashion design? Objective of the research: "Know the creative role of decorations additions by revealing the vocabulary of addition and modalities in the design of women's fashion for the fashion designer (Zuhair Murad). " The theoretical framework included: decorating in fashion design, adding decorating as a creative process.. The research followed the descriptive-analytical approach, and the sample of the research was chosen intentionally, represented at the level of show and methods of creative formation of decorative additions in fashion design. The research reached the most important results such as the applied structural designs within the structure of the costume, using the cuttings, the folds and the collars as an additive associated with the construction of the uniform, emerged as formative variables of the same cloth material. And the simplistic addition showed that decoration retain the base form of the uniform, while the other showed the existence of multiple and complex decorative materials, both showing the correlation of the shape of the content in the costume design.

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沈, 文欣. "The Application of Illustration Elements in Modern “China-Chic” Fashion Design." Design 08, no. 03 (2023): 1151–61. http://dx.doi.org/10.12677/design.2023.83142.

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李, 佩珊. "Research on the Application of Bamboo Woven Fabric in Fashion Design." Design 08, no. 03 (2023): 1233–42. http://dx.doi.org/10.12677/design.2023.83149.

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刘, 治涛. "The Innovative Application of National Tide Elements in Modern Fashion Design." Design 08, no. 02 (2023): 563–69. http://dx.doi.org/10.12677/design.2023.82072.

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王, 欣琦. "The Application of Chinese Paper-Cut Art in Modern Fashion Design." Design 08, no. 02 (2023): 642–49. http://dx.doi.org/10.12677/design.2023.82082.

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郑, 可. "Consumer Participation and Experience in Fashion Design in the Digital Era." Design 08, no. 04 (2023): 3391–96. http://dx.doi.org/10.12677/design.2023.84417.

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张, 梦甲. "Analysis on the Artistic Expression of Fabric Reengineering in Fashion Design." Design 08, no. 04 (2023): 3604–8. http://dx.doi.org/10.12677/design.2023.84443.

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47

Haug, Anders, and Mia Borch Münster. "Design variables and constraints in fashion store design processes." International Journal of Retail & Distribution Management 43, no. 9 (September 14, 2015): 831–48. http://dx.doi.org/10.1108/ijrdm-11-2013-0207.

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Purpose – Several frameworks of retail store environment variables exist, but as shown by this paper, they are not particularly well-suited for supporting fashion store design processes. Thus, in order to provide an improved understanding of fashion store design, the purpose of this paper is to identify the most important store design variables, organise these variables into categories, understand the design constraints between categories, and determine the most influential stakeholders. Design/methodology/approach – Based on a discussion of existing literature, the paper defines a framework of store design variables and constraints between these. The framework is investigated through six case studies of fashion store design projects. Findings – Through a discussion of literature and empirical studies, the paper: identifies the most important store design variables, organises these variables into categories, provides an understanding of constraints between categories of variables, and identifies the most influential stakeholders. The paper demonstrates that the fashion store design task can be understood through a system perspective, implying that the store design task becomes a matter of defining a set of subsystems, while considering their mutual interdependencies. Research limitations/implications – The proposed framework may be used as a point of departure and a frame of reference for future research into fashion store design. Practical implications – The paper may support retail designers and retail managers in fashion store design processes by clarifying which store design variables to consider and providing an understanding of the constraints between them. Originality/value – The perspective on the fashion store design task offered by the proposed framework adds a layer of understanding to the way in which existing literature describes the challenges related to store design. The empirical studies of fashion store projects demonstrate that the described system perspective offers a useful way of organising fashion store designers’ experiences from design processes.

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48

Geraffo, Monica. "The house of Van Dyne: Defining Marvel’s superhero fashion designer." Film, Fashion & Consumption 9, no. 2 (October 1, 2020): 201–23. http://dx.doi.org/10.1386/ffc_00020_1.

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Marvel Comics superhero and founding member of The Avengers Janet Van Dyne, the Wasp, has been portrayed as an in-canon fashion designer not just of superhero costumes but also of civilian clothing. Through her continuous usage as a narrative device that functions as an authority on style and taste, the proliferous designs depicted as created by Van Dyne over her almost sixty-year history have expanded to be worn by so many heroes across the Marvel Universe that they subconsciously define our overall conceptions of superhero fashion. This article evaluates Van Dyne’s fictional fashion designs from the perspective of real-world fashion criticism in order to define Van Dyne’s design aesthetic. Through comparisons with key designers and movements within the fashion industry, this article asserts that the history of luxury fashion is the best model for placing Van Dyne designs into context and that the long-standing visual representations of Van Dyne fashions offer a unique case study to explore the narrative implications of luxury fashion within comics. This focus on fashion designs rather than iconographic superhero costumes creates new opportunities to emphasize discussions of the integrality of clothing to conceptions of superhero characterization and identity.

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Chiaroni, Keren Muriel. "Fashion and Design Trend-forecasting." International Journal of the Arts in Society: Annual Review 4, no. 4 (2009): 71–80. http://dx.doi.org/10.18848/1833-1866/cgp/v04i04/35670.

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Swale, Simon. "Fashion Design Process - Simon Swale." Scope: Contemporary Research Topics (Art and Design), no. 21 (2021): 46–47. http://dx.doi.org/10.34074/scop.1021007.

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