Relevant bibliographies by topics / Fashion Designers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Fashion Designers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Fashion Designers"

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Agusalim, Nadia Putri. "Fashion Business Sustainability for Fashion Designers in the Indonesian Fashion Industry." International Journal of Review Management Business and Entrepreneurship (RMBE) 1, no. 2 (December 21, 2021): 144–52. http://dx.doi.org/10.37715/rmbe.v1i2.2423.

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The fashion industry remains as one of the most highly competitive industries where many fashion designers may find it difficult to establish sustainable fashion businesses. Navigating through the fashion business and ensuring business success, growth and long-term sustainability were generally considered to be the ultimate goal and biggest challenge many fashion designers continue to struggle with. This study was aimed to determine all key factors that are integral and contribute to fashion business sustainability by presenting findings provided by three Indonesian fashion designer’s responses to the issue of fashion business sustainability, the various challenges, and what factors are needed to ensure a long lasting through semi-structured in-depth interviews. Overall findings revealed the need for fashion designers to have an entrepreneurial mindset and for fashion businesses to possess all sustainable business key factors in various aspects ranging from design, business and the various qualities from the fashion designer themselves, while also taking account of the external state which was set in the Indonesian fashion industry for business sustainability and organic business growth. Fashion designers who controls all these factors will have a significantly higher chance of sustainability while competing with other fashion businesses.
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Dykhnych, Liudmyla. "Visual Art as a Means of Presenting a Fashion Designer’s Creative Idea." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 213–26. http://dx.doi.org/10.31866/2410-1915.24.2023.287699.

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The aim of the article is to identify the types and functions of fashion graphics as a means of visualising the ideas and concepts of a fashion designer. Results. The role of visual art in expressing the idea of a fashion designer is characterised; based on the systematisation and analysis of examples of fashion graphics that visualise clothing models of such designers as K. Dior, Y. Saint Laurent, H. Mepen, V. Nesmiian, A. Tan, V. Anisimov, as well as the author’s graphics of K. Lagerfeld, the following types of using visual art in presenting designer’s ideas are identified 1) fashion illustration in suit presentation; 2) Illustrated fashion magazines; 3) fashion illustration as a design element of the designer’s publications and fashion publications; 4) sketch of the product; 5) generalised (conceptual) image of the collection; 6) narrative graphics. The research methods include analysis and synthesis, historical and chronological, comparative, figurative and stylistic analysis, selective method, and systematisation of visual information. Scientific novelty. For the first time, in the context of the history and contemporary development of the fashion system, examples of fashion illustrations, sketches, and drawings by foreign and Ukrainian artists and designers are considered in the context of the designer’s communication with the target audience; for the first time, models of Ukrainian designers from fashion magazines of the 1960s–1970s, as well as models from collections of contemporary Ukrainian designers, are introduced into scientific circulation. Conclusions. After analysing the goals of designers and the impact of visual works on promoting fashion and fixing the suit images in the imagination of the consumer audience, the following functions of fashion graphics are identified: communicative (by presenting a sketch or illustration, the designer establishes or reinforces a connection with the target audience); advertising (by placing a sketch, illustration or author’s narrative graphics in the information space — printed and online sources, the designer promotes a new product or creates cult features for an existing product); correspondence of the suit to a work of art (using visual means, the designer brings closer or equates the process of creating a suit with the creation of a work of visual art). The practical significance lies in identifying the functions of visual works that present the ideas of designers. The artistic work of artists and designers, which reveals the uniqueness of the created clothing examples, can still be used by designers today, both in the design process and as analogues of advertising and communication tools.
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Guo, You Nan, and Xiao Wei Xu. "Talking Designer's Emotional State in the Fashion Creation." Advanced Materials Research 796 (September 2013): 538–41. http://dx.doi.org/10.4028/www.scientific.net/amr.796.538.

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Designer's emotional state in the fashion creation process is the subject of long-term concern. This article attempts to clothing fabrics, clothing brand fashion and clothing design goal level, attempts to explore how designers will infuse art and technology into the fabric material and fashion design, turning it into a designer emotion materialized form..
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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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Gursoy, Fatma, and Nurgul Kilinc. "The effects of technical knowledge related to garment production process on fashion designers’ designs." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 628–37. http://dx.doi.org/10.18844/prosoc.v2i1.1001.

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Today, in the fashion sector, which can be regarded as the driving force behind Turkish exports, the need for designs and designers is increasing day by day in parallel with the developments in domestic and foreign markets. The process of production in the fashion sector can be divided into four groups, namely design, planning, production and marketing. The fundamental properties of the product are determined in the design department, which constitutes the basis of the production process. In this study, the purpose was to investigate how effects having or not having technical knowledge related to the garment production process on fashion designers’ designs. This study, in which qualitative research methods were used, was conducted using the case study design. For the sample group, criterion sampling, one of the purposeful sampling methods, was used and four designer were selected as the sample group. Research data were collected through interview, observation and document review. The data that were collected were evaluated through description and comparative analysis and then made into a report. After evaluation of research findings it has been reached that designers with technical knowledge on garment production process scored higher points on their illustrations. In terms of sub dimensions, in evaluations related to creativity dimensions, designers with technical knowledge, even with a slight difference, scored higher. When design is studied in terms of commercial value which is the other sub dimension, again, points of designers with technical knowledge fount higher.Keywords: Fashion Designer, Illustration, Creativity, Technical Knowledge
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Mintorwati, Mintorwati, and Irwan Yudha Hadinata. "ESMOD MODE SCHOOL IN BANJARMASIN." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (February 28, 2021): 221–31. http://dx.doi.org/10.20527/lanting.v10i1.753.

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The Design of Fashion Schools in Banjarmasin is in the background by the rapid increase of fashion needs. Some potential young designers in Indonesia also show that fashion products in Indonesia have a great potential. However, in South Kalimantan, especially Banjarmasin, does not yet have a Fashion Design high school, it makes the local people who want to become a fashion designer must study outside the island of Kalimantan. With the existence of a fashion school in Banjarmasin, it is expected that Banjarmasin and the surrounding communities who have aspirations to become a Fashion Designer or want to know about what is Fashion Design. So, the fashion design school in Banjarmasin can give birth to new designers who can trigger the fashion industry in Indonesia, especially in Banjarmasin. In this design, the researcher uses the concept of Expressionist Architecture as an answer to the research problems in the design of this school.
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Mintorwati, Mintorwati, and Irwan Yudha Hadinata. "ESMOD MODE SCHOOL IN BANJARMASIN." JURNAL TUGAS AKHIR MAHASISWA LANTING 10, no. 1 (February 28, 2021): 221–31. http://dx.doi.org/10.20527/jtamlanting.v10i1.753.

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The Design of Fashion Schools in Banjarmasin is in the background by the rapid increase of fashion needs. Some potential young designers in Indonesia also show that fashion products in Indonesia have a great potential. However, in South Kalimantan, especially Banjarmasin, does not yet have a Fashion Design high school, it makes the local people who want to become a fashion designer must study outside the island of Kalimantan. With the existence of a fashion school in Banjarmasin, it is expected that Banjarmasin and the surrounding communities who have aspirations to become a Fashion Designer or want to know about what is Fashion Design. So, the fashion design school in Banjarmasin can give birth to new designers who can trigger the fashion industry in Indonesia, especially in Banjarmasin. In this design, the researcher uses the concept of Expressionist Architecture as an answer to the research problems in the design of this school.
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YIYAN, WANG, and NORSAADAH ZAKARIA. "Designers’ potential in sustainable fashion: a systematic literature review." Industria Textila 74, no. 06 (December 22, 2023): 718–26. http://dx.doi.org/10.35530/it.074.06.2022139.

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Given the unsustainable issues of environmental pollution, resource waste, and industrial cycle blockage, the garment industry, has sought an innovation for sustainable development led by the linear economy. The circular economy (CE) advocates closing and correcting material and energy circuits, minimising resource entry and waste, and improving emissions and energy consumption. Most practices under the existing CE model address the outcome rather than comprehending the source. As one of the most critical players in the apparel industry, designers understand the source of product development. In this paper, existing sustainable design practices (SDPs) in the transition of the apparel industry to CE were summarised through a systematic literature review. The extent of designers’ involvement in CE was explored through a correlation study and data analysis between SDPs and the processes of product development (PDP) and production process (PP). Furthermore, the designers’ potential to contribute sustainably to the CE transformation within the apparel industry was discussed via qualitative analysis. The findings demonstrated infrequent involvement in PP by designers, whose voices were limited in the apparel industry, and that the possibility of more designer involvement in SDP. Therefore, this research only focused on the sustainability potential of designer-led PDPs. Lastly, the potential and limitations of applying PDP three-dimensional visualisation as a designer-led SDP were presented.
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Lee, Jee Hyun, Jiwon Ahn, and Jieun Kim. "Theoretical Competence Model of Fashion Designers in Co-Designed Fashion Systems." Fashion Practice 10, no. 3 (September 2, 2018): 381–404. http://dx.doi.org/10.1080/17569370.2018.1507150.

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Gopura, Sumith, Alice Ruth Payne, Laurie Buys, and Deepthi Chandrika Bandara. "Fashion exposure." Journal of Fashion Marketing and Management: An International Journal 23, no. 4 (September 19, 2019): 466–86. http://dx.doi.org/10.1108/jfmm-10-2018-0137.

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Purpose Developing countries engaged in apparel value chain are going global, seeking opportunities to upgrade the industry through providing higher value-added products and services. The purpose of this paper is to investigate how Sri Lankan apparel industry designers interact with the western fashion world in the apparel value chain process, and how they acquire, adapt and apply the knowledge needed to develop high-value fashion products in their fashion design practice. Design/methodology/approach The study adopts a qualitative approach through semi-structured interviews conducted with fashion design and product development professionals in the Sri Lankan apparel industry. An inductive thematic analysis is used in identifying participants’ experience of the western fashion world within their fashion design practice. Findings The study proposes a “fashion knowledge bridge” illustrating the ways in which Sri Lankan designers acquire and merge high-value fashion consumer culture and lifestyle knowledge with the manufacturing industry, through multisensory and virtual experience, termed “exposure”, in their interactions with the western fashion world as well as the manufacturing culture of the Sri Lankan apparel industry. Designers’ exposure improves the feasibility and reliability of their apparel products, aligning to the end-consumer needs. The study also proposes a “designers’ exposure framework” that illustrates gains made by the Sri Lankan apparel industry resulting from knowledge enhancement through the designers’ exposure. Research limitations/implications The study is based on a qualitative methodology that has potential subjective biases on the part of the researchers; in this case only the Sri Lankan designers’ perspectives were used in synthesising the findings. Originality/value The findings propose frameworks with theoretical and managerial implications for developing designers’ capabilities in apparel manufacturing countries that seek industrial upgrading through value-added fashion design practice.
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Dissertations / Theses on the topic "Fashion Designers"

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Beattie, Olivia Lucy Elizabeth. "Communicating identities: new zealand fashion designers and creative exports." The University of Waikato, 2009. http://hdl.handle.net/10289/2786.

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This thesis investigates how New Zealand fashion designers construct and communicate a unique and fluid identity. There are two main focuses of the research. The first is how New Zealand fashion designers build and maintain a unique brand identity in the New Zealand market. This includes an in-depth analysis of the public relations and communication strategies both emerging and established fashion designers use. The second focus is how New Zealand designers communicate their brand identity to export markets. This includes an examination of how the New Zealand national identity has an effect on the communication of their identity in international markets. This research is important as there is little scholarly research on the creative industries in New Zealand, and none on the New Zealand designer fashion industry. Therefore, this research study has been developed to advance literature in this area and provide a basis for further research. While this research study will focus on the New Zealand designer fashion industry, it is hoped that the research will be applicable to other creative industries in New Zealand. A key element of this research is to use the in-depth analysis of the designer fashion industry to provide recommendations on identity management for the New Zealand designer fashion industry and creative industries. Ultimately, this research provides these industries with a practical guide to create and communicate a unique identity in both domestic and export markets. A collective case study method is used to collate the data and is analysed through an interpretive framework. The New Zealand fashion designers that comprise the case studies are Annah Stretton, Robyn Brooks, Jo Robertson, and Cyb le Wiren. Key conclusions are that organisations in the creative industries need to put together an in-depth communications plan as early as possible in their business. This should focus on the creation and communication of a unique and fluid identity in order to differentiate themselves from their competitors and allow them to actively respond to their environment. Industry bodies and New Zealand Trade Enterprise play a key role in the development and export of creative organisations. These organisations need to develop better resources and support systems for the creative industries in order for them to reach their maximum potential.
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Romaniuk, V. P. "Ukrainian Culture in the Context of World's Fashion." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8394.

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Falsken, Joycelyn. "Charles Kleibacker, master of the bias cut : designs, construction and techniques." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1197564134.

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Booth, Gayle J. "Women Entrepreneurs : A Study of Fashion Designers of Great Britain." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504786.

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Women represent around 30% of Great Britain's entrepreneurs. They constitute a dynamic and substantial force in the economy. Their rate of participation as entrepreneurs is significantly lower than that of men. Previous research has sought to understand the experiences of women entrepreneurs in order to explain this under representation. However, much of this work has consulted with women as entrepreneurs which own businesses across a variety of industries. Research into defined industries is limited and research on fashion designers specifically is virtually non-existent. This pioneering study bridges the academic fields of entrepreneurship and fashion design, exploring the experiences of British women entrepreneurs as designers in the fashion industry. The study pursued four important themes: development of the profiles of British women entrepreneurs as designers in the fashion industry; determination of their home and work past and current responsibilities; identification of the barriers encountered in childhood, education, professional and business development; and exploration of the impact of gender on their experiences as designers in the fashion industry. The methodology of the study employed in depth interviews with 30 women entrepreneurs of Great Britain who are/were fashion designers. The sample included those who were in early, mid, established and post business. The interviews were carried out face to face and over the telephone. Qualitative analysis of the data focused on exploring the differences and similarities of women entrepreneurs' experiences. The fmdings suggest that social, industrial and economic factors appear to marginalise British fashion designers from growing their business substantially and that they had encountered negative attitudes based on their gender. However, the entrepreneurs were found to turn such experiences into positive outcomes with many of them growing international labels playing important roles in a matrix of industries and the economy. Manufacturing and accessing fmance were the two main challenges faced. The research focus spanned the life course trajectory revealing how coping with adverse circumstances also increased an awareness of ethical business considerations. They possessed elements of social entrepreneurship that were paramount to business through design and/or philanthropic activities. On work and home responsibilities, 43% were childless the remainder revealed feelings of stress and grief due to separation from children. As children, they acted in non-traditional ways which were embraced by their fathers, whereas mothers tended to push their daughters into education. Paternal grandmothers were revealed to be entrepreneurs. Recommendations are made for individuals and organisations of ways in which the potential of British women fashion designer entrepreneurs could improve. The limitations of the study and implications for future research are also discussed.
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Klymenko, O. "Eccentric Decisions for the Fashion Design." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8475.

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Lindgren, Timothy T. "Fashion in Shanghai : the designers of a new economy of style." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67803/2/Timothy_Lindgren_Thesis.pdf.

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This thesis is a study of Chinese fashion designers in Shanghai. It shows fashion designers are building businesses, forging their professional reputations and developing a design aesthetic. Some designers are extremely successful in applying some elements of Chinese philosophy to their work, such as Buddhism, Confucianism and Daoism. In doing so, they challenge the dominance of the European fashion system with a new global fashion system.
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Heim, Hilde. "Fashioning business: Updating support for local, small-scale independent fashion designers." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122563/1/Hildegard_Bennett%20Heim_Thesis.pdf.

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Small-scale fashion designer businesses are emerging in many locations, including in cities not known as fashion centres, such as Brisbane. This study identifies the factors that contribute to business success or failure, not least of which is the support owner-designers receive during the life cycle of their business. The study revealed that a complex set of requirements is needed to support those practices, including access to relevant and credible information, community interaction and tailored mentoring. The study resulted in the development of an online resource to support independent designers to build successful and resilient local fashion businesses.
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Keet, Philomena Benedicta Camelia. "Mimicking in a material world : negotiating stylish selves and networks in a Tokyo youth fashion scene." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602392.

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Song, Hyunjoon. "The Scandinavian Cooperative Advantage of Fashion : A Study of Swedish Fashion Brands." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-315259.

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In recent years the fashion industry has experienced a high frequency of famous Creative Directors departing the companies for unknown reasons. The same problem does not seem to occur in the Scandinavian fashion industry. This study’s purpose is to explore why Scandinavia does not experience the same problem, contribute a deeper understanding of the leader-designer relationship in the Swedish fashion industry, and to examine how the Scandinavian Cooperative Advantage is applicable in the Swedish fashion industry. Three case studies were conducted at the Swedish fashion companies TRIWA, Baron and Weriseg where both leaders and designers were interviewed. The findings showed that the leaders view their designers as an essential part of the organisation but how they are prioritised depend on the situation. Further more, this study indicates that all of the studied companies have a stakeholder approach, uses a value creating strategy based on cooperation with their stakeholders, are aligned with a typical Swedish organizational culture, and has a Swedish Management Style. Thus this study indicates that the notion of Scandinavian Cooperative Advantage is applicable at the Swedish fashion industry and that this might be a factor for their success.
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Robinson, Rebecca J. "American Sportswear: A Study Of The Origins And Women Designers From The 1930’s To The 1960’s." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1054926324.

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Books on the topic "Fashion Designers"

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Senker, Cath. Fashion designers. New York: PowerKids Press, 2012.

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Borrelli, Laird. Fashion illustration by fashion designers. San Francisco, CA: Chronicle Books, 2008.

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Storey, Helen. Fighting fashion. London: Faber and Faber, 1996.

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Stegemeyer, Anne. Who's who in fashion. 2nd ed. New York: Fairchild Publications, 1988.

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Stegemeyer, Anne. Who's who in fashion. 4th ed. New York: Fairchild Publications, 2003.

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Julie, Hollinger, ed. Portfolio for fashion designers. Boston: Pearson, 2013.

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Hagen, Kathryn. Fashion illustration for designers. 2nd ed. Upper Saddle River, N.J: Prentice Hall, 2011.

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Harvey, Anna. Fashion: Great designers talking. London: MQ Publications, 1998.

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Roger, Tredre, ed. The great fashion designers. Oxford: Berg Publishers, 2009.

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Martín i Roig, Gabriel, 1970-, ed. Drawing for fashion designers. London: Batsford, 2007.

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Book chapters on the topic "Fashion Designers"

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Stecker, Pamela. "Influential Designers." In The Fashion Design Manual, 23–33. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-15162-2_2.

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Moradei, Clizia. "Fashion Education: Cultivating Fashion Designers-Plants." In Springer Series in Design and Innovation, 443–51. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_42.

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AbstractIn the context of the contemporary social and ecological crisis, this contribution proposes a reinterpretation of current fashion design educational programs through a bio-inspired perspective, with the intent of guiding next generation fashion designers to successfully face such issues. The investigation delineates the theoretical subsoil to frame the topic by illustrating some key concepts connected to ‘fashion futuring’, ‘making kin’, plant neurobiology, collective authorship and co-design, translated within fashion studies. Specific plant neurobiology and botanical definitions are then applied to the qualitative analysis of two peculiar didactical case studies: the Master in Co-diseño de Moda y Sostenibilidad at the Escola d’Art i Superior de Disseny de Valencia (Spain); the course in Biomoda at the Universidad de los Andes (Colombia). Proven the evidence that nowadays the needs of the planet and those of the fashion labour market must be realigned, the ultimate goal in education must be to train professionals capable of pursuing principles of sustainability. This is possible implementing redirection practices in a ‘futuring’ perspective, by operating as a collective parental-like organism establishing multidisciplinary dialogues. The vegetal metaphor allows weaving analogies between specific plant attitudes and today’s essential design requirements. Such aspects are not only useful to visualize and guide the creation of collective paths and sharing dynamics, but also to enhance the structuring of emerging experimental academic fashion curricula on the model of the fashion designer-plant hybridization.
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Luce, Leanne. "Generative Models as Fashion Designers." In Artificial Intelligence for Fashion, 125–39. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3931-5_8.

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Stecker, Pamela. "Australian Style: Influential Australian Designers." In The Fashion Design Manual, 249–59. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-15162-2_20.

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Voss, Kimberly Wilmot. "National Fashion Editors, Public Relations Pioneers, and Fashion Designers." In Newspaper Fashion Editors in the 1950s and 60s, 61–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73624-8_4.

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England, Lauren, Ogake Mosomi, Roberta Comunian, and Brian J. Hracs. "Fashion designers and education in Nairobi." In Higher Education and Policy for Creative Economies in Africa, 44–59. Abingdon, Oxon; New York, NY: Routledge, 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003127802-5.

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Richards, Christopher L. "The forerunners of Ghana's fashion designers." In Cosmopolitanism and Women's Fashion in Ghana, 74–103. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003148340-3.

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Saraswati, Asri. "Fraught Relations: Indonesian Modest Fashion, New York Catwalks, and the Spectacle of Travel." In Gender, Islam and Sexuality in Contemporary Indonesia, 67–85. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_4.

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AbstractThis chapter examines the rise of Indonesian Muslim fashion, or “modest fashion,” and its connection to the New Yorkcatwalks. It seeks to uncover the interplay between the narratives of freedom and travel in creating the global capitalist pullfor modest fashionin Indonesia. Thus, it contributes to one of the aims of this volume to “explore the different ways in which modestyand commodification interact” (see Arnez 2023, this volume, Chap. 1). Contributing to studies examining political statements of designers of Islamic clothing for women, this chapter discusses the popularity of Indonesian modest fashion on the New York catwalks in the context of the Western world’s feelings of guilt towards Muslims, prompted by anti-Muslim sentiment. Displays of fashion by Indonesian designers on catwalks and the designers trotting New YorkCity were used as political statements and marketing tools. Particular attention will be paid to Indonesian designers’ engagement with the New York Fashion Week and the Couture Fashion Week, and the images of travel displayed. This article sheds light on the problematic relationship between Indonesian Muslim fashion and narratives of travel, specifically considering the highly politically contentious moment when refugees from Islamic countries were denied entry into the U.S. This created a platform for Indonesians to promote equality and stand against the racist travel ban posed upon Muslims, yet it also produced the myth that the freedom to travel is guaranteed.
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Tsarouchis, Sotirios-Filippos, Argyrios S. Vartholomaios, Ioannis-Panagiotis Bountouridis, Athanasios Karafyllis, Antonios C. Chrysopoulos, and Pericles A. Mitkas. "Science4Fashion: An Autonomous Recommendation System for Fashion Designers." In IFIP Advances in Information and Communication Technology, 729–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79150-6_57.

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Adjabeng, Harriet Ann. "Sustainable Fashion in Ghana: An Exploratory Study of Fashion Designers’ Knowledge, Practices and Challenges." In Palgrave Studies of Marketing in Emerging Economies, 221–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07326-7_8.

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Conference papers on the topic "Fashion Designers"

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Hill, Charlie, Gillian Cramption Smith, Eleanor Curtis, Stephen Kamlish, and Mike Scaife. "Designing a visual database for fashion designers." In INTERACT '93 and CHI '93 conference companion. New York, New York, USA: ACM Press, 1993. http://dx.doi.org/10.1145/259964.260055.

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Albuquerque, Cibele, Leonardo Gomes Castillo, and Carla Regina Pasa Gómez. "Activism for sustainable fashion: the designers' role." In SDS 2023 - IX SIMPÓSIO DE DESIGN SUSTENTÁVEL. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/978-65-00-87779-3.sds2023.p465-476.

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Este artigo parte do pressuposto de que o estudo das práticas de ativistas da moda sustentável pode fornecer reflexões sobre as motivações e contextos que conduzem a comportamentos na relação produção-consumo mais conscientes e menos prejudiciais ao meio ambiente. Assim, o objetivo foi examinar o papel de designers brasileiras como ativistas na moda, a partir da proposta de Mazzarella, Storey & Williams (2019). Utilizando uma abordagem qualitativa, que contou com 6 entrevistas em profundidade cujos dados foram analisados a partir de análise de conteúdo (Bardin, 1977) foi possível identificar elementos que evidenciam um ativismo ainda muito tímido. Foi também, capaz de trazer elementos que permitem instigar movimentos para reposicionamento o papel do designer para a sustentabilidade como a falta de clareza e evidências de habilidades multifacetadas, postura pouco expressiva de argumentos contra cultura vigente, de robustez no desdobramento dos resultados e criação de oportunidades.
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Rossato, Beatrice, Livia Tenuta, and Susanna Testa. "TRAINING FUTURE FASHION DESIGNERS. AN INTEGRATED APPROACH THROUGH FASHION-TECH UNIVERSITY-INDUSTRY COOPERATION." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.1300.

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Jones, Katie Baker. "Mything in action: Fashion designers in documentary film." In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.11857.

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Montagna, Gianni, Maria Delgado, Isabel Duarte De Almeida, and Luís Santos. "New skills for new designers: Fashion and Textiles." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001539.

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This work arises as a reflection on what it means to be a designer of the future and their greater need for influence and collaboration with the team throughout the product creation cycle. The renewal of a culture of design and business innovation in the area of fashion and textile design is based on the establishment of bridges with different realities that, increasingly dynamic, change the landscape of different products and their creation processes, blurring the boundaries and limits of each area of intervention and its actors. From the small to the big industry we find new needs and professions that project themselves into the future reaching from the past, as in the case of new craft productions that value the identity, artistic and cultural heritage of each geography, supported by new materials and technologies of Industry 5.0. This new dynamic of integrated work, where everyone contributes to enhance the knowledge of each participant, enabling the renewal of knowledge and the development of innovation and social, cultural, and economic inclusion, needs greater support and connection between academia and the creative and productive reality on the ground. The present research group, sustained by the interpretation of the paths of work innovation in the coming decades, intended to provide a contribution to the industry and the culture of national or international design innovation, through research based on the identification of the knowledge and skills necessary for the future training of fashion designers.The adoption of a qualitative and quantitative methodology should allow the collection of data that can indicate trends of needs of future designers and the need to adapt the academy to these new realities. With this study we intend to establish a network of relationships between the different actors in the process of creation and innovation, as well as promote a greater connection between the different forms of creation and production that allow to satisfy the final consumer and their needs around fashion and textiles.
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Chen, Yulan, Zhiyong Wu, Zheyan Shen, and Jia Jia. "Learning from Designers: Fashion Compatibility Analysis Via Dataset Distillation." In 2022 IEEE International Conference on Image Processing (ICIP). IEEE, 2022. http://dx.doi.org/10.1109/icip46576.2022.9897234.

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REABENCHI, Eugen. "Analysis and prediction of fashion trends. How social trends affect fashion." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p178-183.

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Today it is no longer enough to just catch the changes in society and use this knowledge: we have to be proactive: we “predict” and then quickly and accurately formulate the trends. Fashion design, as a creative unit, is a branch of production in which the use of forecasting techniques and systems is of particular importance, which makes it possible to predict directions and trends in the use of new technologies, materials and methods of producing a design. Forecasting development trends in these areas is an important way to form promising clothing collections with positive social impact. Using predictive design techniques allows companies to plan their product lineup to meet customer demand and have overall social value. The need to predict trends stems from the shared interest of designers and industry groups for commercial success. Based on forecasts, designers strive not only to meet the expectations of a target group, but also to create new materials and develop modern technologies. There are many approaches to forecasting in design: formal, intuitive, sociological and even astrological.
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Senevirathne, K., and S. C. Gopura. "Nature as a creative mentor: how Sri Lankan fashion designers embrace biomimicry." In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.11.

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Channelling nature as a profound source of inspiration for integrating design solutions has been a longstanding practice dating back to the dawn of human survival. This innovative approach involves perceiving biological functions and visuals, and then merging them with design to create product solutions. In recent times, this process has taken on a new form with biomimicry gaining traction as a valuable tool for industrial enterprises. The purpose of this study is to explore the potential impact of biomimicry on the fashion industry and its future landscape in fashion design. To conduct this research, primary data was collected through purposive sampling and semi-structured interviews with local designers, while secondary data was obtained from renowned fashion trend forecasting platforms, social blogs, and scientific literature. These were then subjected to mixed method analysis. Through this exploratory research, we draw conclusions about the efficiency of biomimicry as a design practice and its potential as a tool for advanced innovative concepts in Sri Lankan context. The study also highlights the gaps between biological knowledge and the fashion industry, which have been hindering the widespread adoption of this practice. By investigating the opportunities and possibilities that biomimicry presents, this research aims to empower local fashion designers to incorporate biomimetic principles into their creative and commercial practices. Ultimately, the findings infirm shaping a sustainable and innovative future for the field of fashion.
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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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Prihutomo, A., and R. D. Paramita. "Fashion contemporary design project, collaboration between traditional artisan with young designers." In 1ST INTERNATIONAL CONFERENCE ON ACHIEVING THE SUSTAINABLE DEVELOPMENT GOALS. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0111013.

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Reports on the topic "Fashion Designers"

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Jablon, Sara. What do fashion designers look like? Comparing representations of stock photograph designers and professional designers. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1166.

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Min, Seoha, and Jennifer L. Wilson. Exploring entrepreneurial processes of emerging fashion designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-444.

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Kennedy Benson, Samii, and Eulanda Sanders. Where Are All The Black Female Fashion Designers? Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-316.

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Woo, Hongjoo, Kassandra Ross, and Wi-Suk Kwon. Fashion Design Piracy and Consumers� Brand Perceptions: The Case of Corporate Copying of Independent Fashion Designers. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8791.

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Caskey, Kristin. Community Engagement 101 for Fashion, Graphic, and Interior Designers MoB Studio’s First Year. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-784.

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Hwang, Ja-young, Eulanda A. Sanders, and Mary Lynn Damhorst. South Korean Fashion designers’ decision-making process: The influence of cultural values and personal experience in the creative process. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-897.

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Chen, Chanjuan, Melanie Carrico, Krissi Riewe, Lauren Ashley Rougeaux-Burnes, and Sheri Dragoo. Denim Risk: A Case Study by Five Fashion Designers with Nontraditional Seam Placement in a Creative Design Process Using Denim Fabric. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8772.

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De Jesús, Dyanis, Alejandra Luzardo, and Michelle Pérez. Orange Economy: Innovations you may not know were from Latin America and the Caribbean. Inter-American Development Bank, June 2017. http://dx.doi.org/10.18235/0006354.

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Who would have said that in the hands of creatives, designers, artists and entrepreneurs would be part of the response to the development challenges of Latin America and the Caribbean? This report is part of the Inter-American Development Bank's (IDB) Demand Solutions: Ideas for Improving Lives, which aims to give visibility to the region's creatives and to position creativity as an integral element of economic and social development. In 2015 the cultural and creative industries (CCI), which are part of what the IDB calls the Orange Economy, generated 1.9 million jobs in Latin America and the Caribbean, and revenues of $124 billion. It is estimated that by 2020 creativity will be the third most demanded skill by companies when selecting their employees. It should be noted that most startups in the region, although little known, have a high social and economic impact in traditional sectors such as health, education and transportation. This report discusses how creativity continues to be the main protagonist to face challenges upon the changes in the way of working and producing goods and services, as well as the indispensable convergence between the analogue and digital. This report highlights 50 of the 300 innovative projects with the greatest social impact in the region, grouped according to 8 sectors of the CCI’s: Architecture, Handcrafts, Design, Media, Fashion, Music, Creative Services and Software / Digital Platforms, in 12 Countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, El Salvador, Guatemala, Jamaica, Mexico, Peru and the Dominican Republic. At the same time it also describes the most important trends in these 8 sectors.
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Jones, Katie Baker, and Jana Hawley. The house always wins: Designer appointments at historic fashion houses. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-539.

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Lapolla, Kendra, Jaclyn Gordyan, and Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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