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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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Vincent, Alyssa. "Breaking the cycle: How slow fashion can inspire sustainable collection development." Art Libraries Journal 42, no. 1 (December 15, 2016): 7–12. http://dx.doi.org/10.1017/alj.2016.42.
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What do academic librarians and fashion designers have in common? As designers produce a good—clothing—and librarians provide a service, it may seem like the two share no similarities. However, in recent years, both professions have been asked to do more with less. Designers are tasked with churning out clothing collections at a record rate while academic librarians have had to maintain and in some cases increase their level of service in the face of steadily decreasing budgets. One response to this relentless cycle in the fashion world is the development of slow fashion, a designer-oriented process that prioritizes producing fewer collections of clothing using materials that have less of an environmental impact. For libraries to respond to increasing demands, slow collection development is proposed and applied to building fashion resource collections in academic libraries.
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Shen, Lei, and Muhammad Hussnain Sethi. "Sustainable Fashion and Young Fashion Designers: Are Fashion Schools Teaching Sustainability?" Fibres and Textiles in Eastern Europe 29, no. 5(149) (October 31, 2021): 9–13. http://dx.doi.org/10.5604/01.3001.0014.8036.
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The fashion Industry is one of the major polluting industries globally, and it has become a hot topic of debate. Thousands of people participate in climate change marches and attend seminars worldwide, but sadly most of them usually wear fast fashion products due to the lack of awareness. This pilot research investigates how well freshly graduated fashion designers know sustainable textiles and fashion as fashion designers are the ones who lead the fashion industry. We used a qualitative research method, and focus group discussion was applied for data collection. Twenty-four freshly graduated fashion designers from China, India, Bangladesh, and Pakistan participated in this research. The focus group discussions were conducted in Shanghai, China. Topics were divided into three categories:(a) fast fashion, recycling & upcycling, (b) zero-waste fashion, and (c) eco-friendly fibres. Findings disclosed that the participants were well-aware of techniques like fashion illustration, pattern-making, and draping but comparatively uninformed about sustainable fashion. They were familiar with the term „sustainable fashion” but completely unaware of details and their sustainability responsibilities. Suggestions to rectify this important issue are provided in this study.
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Sun, Chenhao, and Jisoo Ha. "Fashion Designers and National Identity: A Comparative Empirical Analysis of Chinese and Korean Fashion Designers." Asian Culture and History 11, no. 2 (July 15, 2019): 75. http://dx.doi.org/10.5539/ach.v11n2p75.
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The purpose of this study is to observe the similarities and differences between contemporary Chinese and Korean fashion designers in understanding the concept of national identity. To achieve this objective, the literature review and in-depth interview were conducted. The results are as follows: Firstly, the model that interprets the influence factors of designers’ awareness of national identity was built. Under the social background of national identity, including governmental role, features of culture, openness of social system and the international and economic status, features of fashion and fashion designers influence on national identity expressed in designers’ fashion works. Secondly, three main similarities between fashion designers’ awareness have been found. The first is that both Chinese and Korean fashion designers emphasize broader regional concept about national identity; the second is that influence of national identity is subtle and not obvious; the third is that fashion designers have mixed consciousness of self-identity and national identity. Thirdly, there are three main differences between Chinese and Korean fashion designers’ awareness. The first is that the adoption of ethnic national identity in fashion design is more related to the traditional ethnic elements in Chinese while modern elements were favored more by Korean. The second is that Chinese designers as a whole showed a deeper comprehension of traditional ethnic culture or philosophy than Korean designers do. The third is that more solid and positive attitude toward the government caused Chinese designers to have a more intensive civic national identity.
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Schiavone, Scott William. "Re-defining a decade: Marc Jacobs, Tony Viramontes and the vocabulary of 1980s fashion." Fashion, Style & Popular Culture 7, no. 4 (October 1, 2020): 407–20. http://dx.doi.org/10.1386/fspc_00036_1.
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Historian James Laver described the cyclical nature of fashion as taking almost 50 years for a particular style or decade to be remembered as romantic. The 1980s are often overlooked by fashion historians as garish or vulgar, best left to the confines of history. During the global financial crisis of 2007‐08, direct quotations from the 1980s and television show Dynasty (1981‐89) appeared on the catwalks of major designers. An interest in the decade of greed and excess was revived in a time of economic austerity: were we dressing up to cover up our financial shortcomings? Fashion is yet again in the midst of a 1980s renaissance; however, in this time of sociopolitical uncertainty, the perspective has shifted as designers immerse themselves in the creativity and showmanship of the decade. One designer at the apex of this resurgence was Marc Jacobs in his Autumn/Winter 2018 catwalk presentation. Although not the first designer to hone in on the trend, Jacobs’ collection was a homage to 1980s popular culture and the showmanship of haute couture. One notable visual influence was the work of fashion illustrator Tony Viramontes (1956‐88), whose genius captured the essence of the decade. Through analysis of the recent vogue for 1980s revivalism, alongside the ingenuity of the decade’s most energic fashion illustrator, Tony Viramontes, this article will attempt to decode Marc Jacobs’ collection for his eponymous label and consider the vocabulary of 1980s fashion as truly worthy of genuine artistic examination by fashion scholars and contemporary fashion designers.
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Faerm, Steven. "Evolving ‘places’: The paradigmatic shift in the role of the fashion designer." Fashion, Style & Popular Culture 8, no. 4 (October 1, 2021): 399–417. http://dx.doi.org/10.1386/fspc_00099_1.
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This study examines the concept of ‘place’ in the design process and the evolving role of the fashion designer. The contemporary fashion marketplace has reached unprecedented levels of abundance. This is altering society’s relationship with design. Consumers’ basic needs are being over-met and have moved well beyond the material realm; consumers are increasingly driven by their search for meaning and emotional fulfilment through design. The result of this process is the altering of their perception of design ‘value’ from the tangible to the intangible. While the traditional values of aesthetics and function remain essential components to design, a product’s ability to deliver ‘emotional value’ to the user must increasingly become the focus for designers. To succeed, a designer must shift his/her sense of ‘place’ ‐ namely, the figurative ‘place’ from which he/she designs. Rather than creating fashion from myopic, personal biases, future designers must enter the ‘place’ of the design process by rigorously researching their consumers’ psychographics and emotional needs to ‘design emotion’. The new role of the fashion designer ‐ the ‘Designer-As-Social-Scientist’ ‐ takes a much broader view of the consumers’ needs. The evolution of the ‘place’ of the design process will result in products having greater meaning and emotional value; designers standing out in the oversaturated market; and businesses increasing consumer loyalty and resultant sales by offering only those products that are truly desired by their target audience.
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Jocić, Sonja. "Sustainability in fashion: Past creativity as an inspiration for the future." Tekstilna industrija 70, no. 2 (2022): 28–39. http://dx.doi.org/10.5937/tekstind2202028j.
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Even before the emergence of the fashion sustainability movement, some European and Japanese fashion designers were active in inventing new creative principles. Key examples of such designers are: Martin Margiela, Rei Kawakubo, Yohji Yamamoto and Issey Miyake. They have created a completely new, different and personal style in fashion, as a consequence of exceptional aesthetic creativity. With their ingenious creativity and by pushing the boundaries in fashion design and artistic creation, they managed to create a basis for the development of modern sustainable fashion. Among the creative-experimental solutions available to a fashion designer as a strategy for sustainable fashion design, the creation of clothes without fabric waste ("zero-waste") stands out. The inspiration for such a creative-experimental design solution can be found in methods and techniques of traditional Japanese paper folding skills - origami, as well as in traditional Japanese costume - kimono. The introduction of this concept into fashion provides an opportunity not only to reshape the relation between body and clothing, but also has the potential to create clothing design based on sustainability and a new universality in the twenty-first century. Nevertheless, following the approach of famous designers, it can be seen that for success in sustainable fashion design is necessary to master the fundamentals of traditional and sometimes forgotten craftmanship, which could surely lead to further progress by upgrading one's own ideas.
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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/gjhss.v2i1.1001.
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Másdóttir, Vigdís Þóra. "Fashion and Neoliberalism: How Self-commodification Becomes Integral to the Entrepreneurial Ethical Fashion Designer." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 54–58. http://dx.doi.org/10.5617/jea.4899.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay discusses the challenges faced by fashion designers within the contemporary neoliberal fashion and art market, in particular the neccessity to self-commodify and brand oneself if one wishes to succeed. The article builds also on interviews with the New York based fashion designer Arna Lísa.
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Nwaozuru, Daniel, Chiamaka A. Chukwuone, Rachael A. Wonah, and Mellah E. Uzoamaka. "Perceived Entrepreneurial Sustainability and Financial Stability Among Fashion Designers in Abia State, Nigeria." International Journal of Home Economics, Hospitality and Allied Research 3, no. 1 (2024): 378–93. http://dx.doi.org/10.57012/ijhhr.v3n1.029.
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This research explore factors influencing entrepreneurial sustainability and financial stability within the context of the fashion industry, with a focus on the perceptions of fashion designers in Abia State. Descriptive survey methods were employed to provide a comprehensive understanding of the subject matter. The total population for the study was 487, which comprises all registered fashion designers operating in Aba, hence the whole population was used for the study. The study was carried out in Aba which is one of the major fashion hubs in Abia State. Data was collected through structured questionnaire titled Questionnaire on Perceived Entrepreneurial Sustainability and Financial Stability among Fashion Designers (QPESFAFD). The data collected was analyzed using mean and standard deviation to answer the items on each objective. The findings revealed that there are perceived entrepreneurial sustainability strategies adopted by fashion designers, and perceptions influence the financial stability of fashion businesses. It also revealed that there are challenges and opportunities faced by fashion designers in sustaining their businesses and achieving financial stability. Based on the findings, recommendations were made that, there should be regular workshops and training sessions that will focus on financial management and planning specifically tailored for fashion designers and networking and collaboration platforms should facilitate knowledge sharing, resource pooling, and collaboration among fashion designers in Abia State.
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Mateus Felippe, Alessandro, Sandra Regina Rech, Icleia Silveira, and Lucas Da Rosa. "Fashion lab as a factor of innovation in fashion authoring design." Modapalavra e-periódico 13, no. 30 (December 27, 2020): 40–69. http://dx.doi.org/10.5965/1982615x13302020040.
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The post-industrial revolution transformations continue to echo in our society, allowing advances in the area of technology, production, and consumption of products in different segments, especially fashion. In view of this, this article proposes to understand, in an initial and conceptual way, the use of space Fashion lab by fashion designer designers. It is considered that the use of this laboratory can qualify the innovation process during the production of new products. In this work, the basic research was used with a descriptive qualitative approach and the theoretical foundation contemplates the concepts of innovation, fab lab, fashion lab, and authorial design. Finally, the research results indicate that the principles of sharing, experimentation, and prototyping corroborate to the innovation in fashion authoring design in fashion labs.
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Ye, Minhee, and Eun-Hyuk Yim. "Persona Marketing of Fashion Designers." Journal of the Korean society of clothing and textiles 39, no. 3 (June 30, 2015): 446. http://dx.doi.org/10.5850/jksct.2015.39.3.446.
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Malem, Wendy. "Fashion designers as business: London." Journal of Fashion Marketing and Management: An International Journal 12, no. 3 (July 11, 2008): 398–414. http://dx.doi.org/10.1108/13612020810889335.
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Mohamad, Zolina, Norzaleha Zainun, and Suriati Saidan. "Intelligent Wearable: Early Designers." Idealogy Journal 5, no. 2 (September 28, 2020): 179–84. http://dx.doi.org/10.24191/idealogy.v5i2.240.
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It is an overview of the significant landmark in techno fashion landscape. Although the narrative would be on electronic and digital technology in fashion, writer is keen on specifying it on intelligent wearable and the pioneering designers who made the ground-breaking debuts. Intelligent wearable is one of many prominent constituents in techno fashion diaspora. It has a significant role in shaping the future world of contemporary fashion by converging art and science.
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Ali Najim AbdulAllah Al Zubeidi. "Contemporary fashion and its impact on the shape of the sleeves in the traditional Moroccan caftan." Basrah Arts Journal, no. 26 (August 30, 2023): 71–84. http://dx.doi.org/10.59767/2023.8/26.6.
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The Moroccan caftan has recently occupied a large space among contemporary designers because of its great aesthetic impact in terms of shape and decoration, as well as the cultural heritage of the Arab peoples. For international designers in America, Europe and East Asia, in our research, a set of images of the traditional and contemporary caftan was used, which were analyzed visually to know the quality and size of the change that occurred in the shape of the traditional sleeve as a result of its influence on modeling and the designer's vision. In addition, the basic measurements of the sleeve were calculated to further emphasize the importance of the change in the measurements and silhouette of the contemporary sleeve. Contemporary to find out the prediction of the future shape of the kaftan, which is a kind of prediction of the shape, design, quality of fabrics and motifs used in the future fashion industry and its impact on fashion designers and the fashion industry market In our research, the study included focusing on the traditional shape of the sleeve and knowing its basic types that are known and inherited through generations, as well as studying the contemporary shapes of the sleeve through a graphic analysis of a group of contemporary costumes for fashion designers who were inspired by the Moroccan caftan as an inspiration for fashion in contemporary clothes. In front of modernity, it has changed significantly, especially in the lower sleeve area.
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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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Wang, Dong Mei. "Fabrics Re-Creation and Fashion Design." Advanced Materials Research 821-822 (September 2013): 721–25. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.721.
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Excellent fashion designers express their design originality beginning from the design of fabric fiber. Nowadays, the clothing materials existing on the market can not meet the requirements of designers' creativity.So this leads to fabrics re-creation. This thesis analysed various methods of current major fabric recreation,which can broad the design perspectives of the designers and convey the design concept better.
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Mefful, Ophelia, Sheila Clottey, and Laura Kattah. "From Studio to Runway: Ghanaian Fashion Designers' Creative Processes." International Journal of Fashion and Design 3, no. 2 (May 29, 2024): 1–14. http://dx.doi.org/10.47604/ijfd.2582.
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Purpose: The fashion scene in Ghana is a dynamic fabric knit together with creative designs. We explore the inspirations and creative processes of Ghanaian fashion designers as they get from studio to catwalk. The objective of the study is to investigate and clarify the inspirations and creative processes that propel Ghanaian fashion designers from ideation to catwalk presentation. Methodology: The paradigm used was a qualitative research approach. This includes observations, interviews, and portfolio analysis of fifteen (15) selected fashion designers in Sekondi Takoradi Metropolis. The collected data were analyzed using thematic analysis. Findings: The findings of the research indicate the diverse range of elements influencing Ghanaian fashion designers' creative processes. This creative journey reflects not only the designers' technical expertise but also their profound connection to their cultural heritage and their ability to translate inspiration into tangible works of art. While the runway remains a traditional showcase for designers, leveraging digital platforms can extend their reach and visibility. In recommendation, designers can explore virtual fashion shows, live-streaming events, or interactive online galleries to showcase their collections to a global audience. Embracing digital innovation can amplify brand exposure and drive engagement with fashion enthusiasts worldwide. Ghanaian designers should collaborate with international platforms, this can help them gain recognition and share their culture with the world. Unique Contribution to Theory, Practice and Policy: The study also contributes to theories of creative processes within design disciplines shedding light on the systematic stages involved in fashion design. By applying entrepreneurship theory, we can analyze how Ghanaian designers identify market opportunities, innovate in design, and create value for their businesses. This was validated in the study where designers conceptualize, iterate, and refine their ideas, thus contributing to the broader discourse on creative practice. From a practical standpoint, this study offers valuable insights for both emerging and established fashion designers, particularly those operating within culture-based industries. The study contributes to theory by documenting the systematic creative processes employed by Ghanaian designers, it provides a roadmap for other practitioners to follow, helping them enhance their design practices and navigate the complexities of the fashion industry.
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Yetmen, Gozde. "WEARABLE TECHNOLOGY: FASHION DESIGNERS BRINGS TOGETHER FASHION WITH SCIENCE." Ulakbilge Dergisi 5, no. 9 (February 28, 2017): 275–89. http://dx.doi.org/10.7816/ulakbilge-05-09-13.
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Van Kan, Fred. "PRESERVING DUTCH FASHION ARCHIVES. THE FASHION NETWORK ARNHEM." História: Questões & Debates 65, no. 2 (September 22, 2017): 223. http://dx.doi.org/10.5380/his.v65i2.55397.
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Em 2011, o Museu de Arte Moderna de Arnhem, o Instituto de Artes ArtEz e o Arquivo de Gelders uniram forças para preservar os arquivos da moda holandesa moderna. Eles estabeleceram o Modekern, uma rede na qual cada parceiro tem uma responsabilidade especial. O Arquivo de Gelders reúne os registros de importantes designers de moda holandeses, incluindo esboços, experimentos com tecido e portfólios. A academia de moda da ArtEz usa esses registros para pesquisa e educação. Designers e estudantes podem examniar esses arquivos de moda, se inspirar e usá-los para o seu próprio desenvolvimento. O Museu organiza exposições baseadas nos arquivos e no uso de objetos de moda. Nenhum novo instituto foi fundado, mas nesta colaboração cada parceiro traz sua força: o todo é mais do que a soma de suas partes. Neste artigo dedicamos atenção ao desenvolvimento do Modekern no peíodo 2011-2017.
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Payne, Alice. "Inspiration sources for Australian fast fashion design: tapping into consumer desire." Journal of Fashion Marketing and Management 20, no. 2 (May 9, 2016): 191–207. http://dx.doi.org/10.1108/jfmm-12-2014-0092.
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Purpose – The purpose of this paper is to identify both the inspiration sources used by fast fashion designers and ways the designers sort information from the sources during the product development process. Design/methodology/approach – This is a qualitative study, drawing on semi-structured interviews conducted with the members of the in-house design teams of three Australian fast fashion companies. Findings – Australian fast fashion designers rely on a combination of trend data, sales data, product analysis, and travel for design development ideas. The designers then use the consensus and embodiment methods to interpret and synthesise information from those inspiration sources. Research limitations/implications – The empirical data used in the analysis were limited by interviewing fashion designers within only three Australian companies. Originality/value – This research augments knowledge of fast fashion product development, in particular designers’ methods and approaches to product design within a volatile and competitive market.
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Tahalele, Yoanita Kartika Sari. "The Significant of Fashion Ethics Education on Young Fashion Designers and Entrepreneurs." Humaniora 11, no. 2 (July 30, 2020): 145–50. http://dx.doi.org/10.21512/humaniora.v11i2.6503.
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The research aimed to examine the relationship and understand the significance of ethical fashion education to young fashion designers and entrepreneurs’ value systems and ethical behavior. The research applied a descriptive qualitative method based on focus group discussion using purposive sampling. Data were collected from six young fashion designers and entrepreneurs, who graduated from Fashion Design and Business at Universitas Ciputra Surabaya and had ever attended Fashion Ethics class on their seventh semester. The research result shows that Fashion Ethics education is important and gives a positive impact on participants’ ethical values and behavior. Furthermore, some existing personal traits that came from family, as well as previous formal education, significantly influence people’s value system and ethical behavior, which cause different impacts and results of the program among participants. Meanwhile, the religious background does not have a significant influence on the result. In conclusion, the Fashion Ethics program has a positive effect on young fashion designers and entrepreneurs’ ethical values and behavior.
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Almond, Kevin, and Caroline Riches. "Gerald McCann: The Rediscovery of a Fashion Designer." Costume 52, no. 1 (March 2018): 97–122. http://dx.doi.org/10.3366/cost.2018.0049.
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This article was prompted by the discovery of the archive of international fashion designer Gerald McCann, hidden in a garage in Fleetwood, Lancashire, UK. The contents of the archive revealed a treasure trove of press cuttings, photographs, fashion drawings and interviews as well as designs and costings from a once well-known designer, whose significance to the global fashion industry is sparsely documented and largely forgotten. The article reveals the history of the designer, who graduated from the Royal College of Art in London in the 1950s, during the tenure of Professor Madge Garland, and forged a career at the heart of ‘Swinging London’ in the 1960s. He was lured to the USA in the 1970s, returning to the UK in the 1990s as a designer for House of Fraser and Harrods. The research offers the first significant assessment of McCann's position in global fashion and the value and relevance of his legacy, as well as exploring the rationale for documenting the history of forgotten fashion designers.
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Dai, Xin, Pui-Sze Chow, Jin-Hui Zheng, and Chun-Hung Chiu. "Crowdsourcing New Product Design on the Web: An Analysis of Online Designer Platform Service." Mathematical Problems in Engineering 2013 (2013): 1–13. http://dx.doi.org/10.1155/2013/248170.
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A designer is a core resource in the fashion industry. Successful designers need to be creative and quick to understand the business and wider environment in which they are operating. TheDesigner Platform Service(DPS), which combines the mechanism of crowdsourcing and group buying on the web, provides a platform for entrant designers to try their abilities in the real market practice. Freelance designers post design samples or sketches of products on the website of DPS, and consumers may preorder the products (each at a fixed price) online based on the design information. Once the number of ordering reaches or passes a certain threshold, that is, the minimum production quantity (MPQ), DPS will arrange for production and delivery according to the orders received. This novel service boosts the growth of entrant designers and links designing works with real markets directly. We are interested in how the price and MPQ decisions are made in DPS, with consideration of the entrant designer's objective, decision sequences, and customer demand structures. We develop Stackelberg games to model and derive the equilibrium solutions under individual scenarios. Our findings suggest feasibility of the DPS business model.
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Jain, Saina, Marshal Sahni, and Sandeep Kumar. "Sustainable and environmental friendly production practices among the Indian apparel designers." Journal of Statistics and Management Systems 26, no. 5 (2023): 1185–93. http://dx.doi.org/10.47974/jsms-1171.
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This study’s goal is to ascertain the methods used by various fashion designer’s about environmental friendly, sustainability and incorporates it into their design and production practices, as apparel industry is the world’s second most polluted industry(WEF, Jan 2020).The following research questions serve as a framework for the study: (1) Is there a substantial difference between environmentally friendly, sustainability and production practices in apparel industry and to propose an environment friendly strategic framework for the apparel industry,(2)what is the extent of current designer’s environmental friendly and sustainability knowledge? (3) How effectively are designers implementing their sustainability knowledge in their design and production practice? The present study linked the 63 designers in Delhi and NCR ,sustainable design concerns, to the product lifecycle and design processes, to acquire a better picture of their expertise towards fashion sustainability.
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AMEKO Rosemary Enyonam and ABOAGYEWAA-NTIRI Josephine. "ANALYSING THE EMERGING PRODUCTION TECHNOLOGIES IN CLOTHING INDUSTRY: PERCEPTION OF FASHION DESIGNERS WITHIN ADENTA MUNICIPALITY, GHANA." Nigeria Journal of Home Economics (ISSN: 2782-8131) 12, no. 9 (February 16, 2024): 137–46. http://dx.doi.org/10.61868/njhe.v12i9.290.
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This paper aims to investigate the emerging production technologies in clothing production in Ghana and the awareness and usage by fashion designers. The research was based on quantitative and studio-based approaches, which employed questionnaires and observation for data collection. The population comprises 120 fashion designers who have their workshops within Adenta. The results indicated that the emerging production technologies in the clothing industry were ranked, and Computer-aided design (CAD) represented first (1st), Automated inspection (AIN) ranked second (2nd) and Automated material handling devices (AMHD) ranked third (3rd). The study showed that 82.1 % of the respondents agreed that fashion designers' design activities involve the effective use of computers for drawing and designing products. Also, 86% agreed that fashion designers used automated inspection machines to perform inspections. However, 83.3% of the respondents disagreed that fashion designers use a reprogrammable, multifunctional manipulator designed for the automation of assembly lines for apparel making. The study concluded that to demonstrate creative and professional skills, fashion designers should be able to generate original designs from unique concepts and effectively manipulate most of the emerging production technologies in realising their concepts.
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Bhalla, Sunil, Nurhidayah Bahar, and Kanagi Kanapathy. "Knowledge Collaboration Among Fashion Designers: An A Priori Conceptual Model." Electronic Journal of Knowledge Management 21, no. 3 (November 27, 2023): 191–210. http://dx.doi.org/10.34190/ejkm.21.3.2928.
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Whilst collaboration from the branding and marketing perspective for the fashion industry is well documented, little is known about the knowledge collaboration (KC) of fashion designers, and how information and communication technology (ICT) is involved within their Communities of Practice (CoPs). This paper proposes an a priori conceptual model to enable the examination of KC among fashion designers within their CoPs. It aims to interlink the concepts of KC, CoPs, and ICT to understand fashion designers in their social learning reality. In that regard, the a priori conceptual model addresses three broad research questions: 1) How do fashion designers collaborate? 2) How do they participate within their professional communities? And 3) Does ICT play a role? The concepts used in the a priori conceptual model will be interlinked with specific indicators extracted from past studies. Since past studies had not focused on this area of research before, future studies can benefit from the a priori conceptual model by applying it to examine KC within CoPs of fashion designers or other groups.
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Crane, Diana. "Fashion and Artification in the French Luxury Fashion Industry." Cultural Sociology 13, no. 3 (September 2019): 293–304. http://dx.doi.org/10.1177/1749975519853667.
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Fashion design is created in systems of collaborative relationships comparable to art worlds but fashion systems differ from art worlds in the relative emphasis on economic considerations and in the utility of what is produced. A brief history of the French fashion systems underlying haute couture and luxury ready-to-wear fashion reveals that both systems exhibited a tendency toward partial artification, as seen in the creation of designs with avant-garde connotations, although designers were primarily concerned with economic rewards. This tendency was reversed toward the end of the 20th century as both types of designers ceded control over their firms to luxury fashion conglomerates. The importance of fashion collectibles as a form of cultural heritage increased with the emergence of fashion museums but auction prices of fashion collectibles are significantly lower than in the fine arts. Higher auction prices for fashion collectibles occur in cases of celebrity validation or when the fashion collectible has some connection with fine art.
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Uchechukwu Oluigbo, Chinedu, and Donatus Ebere Okonta. "Architects as Fashion Designers: An Emerging Enterprise for Sustainable Growth." International Journal of Advances in Scientific Research and Engineering 09, no. 06 (2023): 56–65. http://dx.doi.org/10.31695/ijasre.2023.9.6.7.
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Overtime the fashion world in Nigeria has largely depended on imported products. Statistics show that most of these products do not meet the socio-cultural and economic needs of the people. However, efforts made by fashion designers to bridge this gap by rolling out innovative fashion products and adequate skill-sets have suffered setbacks. To sustain this creative industry amidst the economic recession, this research explores the potential of architects -the master designers’ contributions to the fashion enterprise as one that has the potential for significant growth. The research explored the frontiers of fashion design and how architects can get involved to improve processes, products, and services through mixed research methods encircling data collectedfrom literature reviews, interviews, case studies, and observation. The research results reveal that architects can function as fashion designers as 41 out of the 50 respondents constituting 95.3% of the studied population comprised of fashion designers and users were positive that the input of architects in the field of fashion is essentially needed to artfully realize the sustainable growth of the industry, 68% of the respondents strongly agreed that fashion designers share a similar skill set with architects, 44.9% of the respondents and 53.1% agree and strongly agree respectively that architects can become fashion designers, while 95.3% of the respondents are enthusiastic about seeing more architects in the fashion industry. The architects’ richness in artistic skills and creativity encapsulated in their sufficient knowledge of anthropometrics and ergonometric, user preferences, elements and principles of design will bring a significant boost to the fashion industry with new and improved articles of clothing which will, in turn, generate revenue for them, promote the growth of the Nigerian Gross Domestic Product (GDP), propagate the nation’s cultural heritage and tourism, stimulate her global recognition and attention
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Agyenim-Boateng, Adwoa G., Isaac Abraham, Ninette A. Appiah, and Haruna Ibrahim. "Exploring the Influence of Fashion Events on the Development of the Textile and Fashion Markets in Ghana: an in-Depth Study of Kumasi Metropolis." Journal of Global Research in Education and Social Science 17, no. 4 (September 27, 2023): 29–41. http://dx.doi.org/10.56557/jogress/2023/v17i48395.
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Purpose: The core aim of this study is to explore and analyze the influence fashion shows have on the growth of textiles and fashion markets within the Kumasi Metropolis in Ghana. It aims to appreciate how these events stimulate creativity, encourage textile production, promote local fashion designers, and facilitate market expansion, all of which can boost economic development.
Methodology: The study used a quantitative explanatory design and a survey approach. A sample of 274 fashion designers was selected through a simple random method. Data was collected using a structured questionnaire. Descriptive and inferential statistical methods, including correlational and multivariate OLS regression, were used to analyze the data.
Results: The findings of the study revealed that frequent participation in fashion shows positively influenced the fashion design innovation practices of fashion design firms and that the attendance of fashion designers at fashion shows stimulated various fashion design innovation practices, which in turn significantly influenced the sales of textiles and fashion products in the market. Implying that customers were more likely to patronize fashion products from designers who frequently attended fashion shows.
Conclusion: The exposure of fashion designers to fashion shows is reported to improve their comprehension of the concepts and, therefore, their innovative practices, which eventually enhance the sales performances of their products in the market.
Originality/Value: This study highlights the limited interest of academicians in investigating the link between fashion shows and the growth of Ghana’s textile and fashion industry. It further presents a unique analysis of the interplay between fashion shows and the growth of textiles and fashion markets in a region that has not been intensely studied before - Kumasi Metropolis in Ghana. It uncovers how fashion shows, by promoting traditional and contemporary Ghanaian designs and fabrics, have a crucial role in the commercial growth and international recognition of the Ghanaian textile and fashion sectors, underscores the significance of cultural preservation and promotion in driving economic development and highlights the potential for this model to be replicated in other sectors and regions across Africa.
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Rubinstein, Ruth P., and Valerie Steele. "Women of Fashion: Twentieth Century Designers." Woman's Art Journal 15, no. 1 (1994): 42. http://dx.doi.org/10.2307/1358496.
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Raskin, Jef. "User Interface Designers, Slaves of Fashion." Queue 1, no. 6 (September 2003): 10–11. http://dx.doi.org/10.1145/945131.945161.
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Greenberg, Cory. "Fashion Law – A Guide for Designers, Fashion Executives, and Attorneys." Pace Intellectual Property, Sports & Entertainment Law Forum 1, no. 1 (May 3, 2011): 71. http://dx.doi.org/10.58948/2329-9894.1004.
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Braithwaite, Naomi. "Materializing fashion: Designers, materials, ideas and the creation of designer shoes." Critical Studies in Fashion & Beauty 5, no. 1 (October 1, 2014): 53–66. http://dx.doi.org/10.1386/csfb.5.1.53_1.
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Min, Seoha, Helen S. Koo, and Marilyn DeLong. "Differences of Information Management between Fashion Show Video and Fashion Film: Focusing on Cases of Chanel." Research Journal of Textile and Apparel 19, no. 1 (February 1, 2015): 73–83. http://dx.doi.org/10.1108/rjta-19-01-2015-b008.
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As media technology is developing, methods to present fashion products and communicate with audiences are also evolving. Designers and fashion brands are always on the lookout for more effective methods to deliver what designers intend through new products. The purpose of this research is to analyze different ways in which people perceive, cognize, and memorize the digital media of fashion show videos and fashion films in the communication process. Considering the difference in communication methods, this study is based on Shannon's communication model, Foulger's ecological model of the communication process, and Kopec's information management theory. In this research, Chanel's 2010 Cruise collection and fashion film, Remember Now, were used as content stimuli. The results indicate that there are significant differences between fashion shows and fashion films in terms of perception (p < .005), cognition (p < .005), and memorization (p < .005). This research will provide prospective methods for fashion designers and fashion firms to effectively deliver the latest fashion information to their audiences.
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Nussbaum, Bruce. "Perspectives on Designing Design Managers By Lee D. Green, Jeff Smith, Gary Bryant, Rachel Cooper, Kyung‐Won Chung, and Maryann Finiw." Design Management Review 25, no. 4 (December 2014): 27–32. http://dx.doi.org/10.1111/drev.10299.
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The strongest and strangest rift in academia is perhaps between business and design. For two fields that are so interdependent on one another, the separation is appalling—and completely unnecessary. In the world of fashion, for example, designers know they must be creators (each season, twice a year, year after year), as well as manufacturers, originators and retailers, loners and team players, empathizers and pathbreakers. By the time they are seniors, fashion students know where to outsource, who to go to for publicity and marketing, what margins are needed to stay in business. Nearly all have been required to intern in successful fashion businesses and have learned the realities of the fashion world from the ground up. In the best fashion schools, from Parsons in New York to Central Saint Martins in London, this is what professors teach and what the curriculum is composed of.Yet in this article, we clearly see that other design schools are not doing this job. Designers graduate without the abilities to function in a business environment, much less build a new business. This is a tragedy with a cause—bad design education. What is needed to be great corporate designers and design managers? The deepest need is understanding—not of the customer, but of business itself. Learning the language and values of business and integrating them into the designer's practice and presentation is the key to success. What is valuable? How is it measured? How can you deliver it? These are all key questions.Designers need to know not only their own process but also the process of bringing their creations to the marketplace. This is what unites such an unlikely pair of designers as Alexander McQueen and Jonathan Ive. One made incredible clothes; the other makes incredible consumer electronics. Yet both obsessed over materials, manufacturing, marketing, and price.This is what designers have to learn to either be part of a team or lead one. It isn't magic.
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Gurova, Olga, and Daria Morozova. "A critical approach to sustainable fashion: Practices of clothing designers in the Kallio neighborhood of Helsinki." Journal of Consumer Culture 18, no. 3 (September 15, 2016): 397–413. http://dx.doi.org/10.1177/1469540516668227.
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This article takes the idea of a critical approach to sustainable fashion and applies it to the practices of clothing designers and seamstresses in the Kallio neighborhood of Helsinki, Finland. These practices are described by the umbrella term “sustainable fashion.” The main questions are how do clothing designers and seamstresses practice sustainable fashion, what challenges do they face, and how do they interpret these challenges. The article offers an empirical definition of “sustainable fashion,” discusses innovative practices of sustainable fashion design in an urban context, considers the tensions within this production concept, and examines ways in which designers address and resolve such tensions. The article contributes to the discussion of a critical approach to fashion, sustainability, and entrepreneurialism in contemporary urban culture.
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Wang, Yan Hui, and Shu Xian Du. "Study on Adaptability of Hand-Painted Silk Fabrics in the High Fashion Design in China." Advanced Materials Research 175-176 (January 2011): 782–85. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.782.
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With the development of science and technology, silk fabric becomes more and more colorful. On the one hand, hand-painted silk fabrics have unparalleled appearance reflecting the designer’s concept, on the other hand high fashion is one of high value-added products. High fashion design needs more unique fabric and the hand-painted silk fabric is just the right choice. In the West, designers attach more importance to developing silk fabric in high fashion design extensively and innovatively; while in China the high fashion design is still holding a backward position. Through studying the relationship of hand-painted silk fabric and high fashion in China, we can forecast the trend of hand-painted silk in high fashion design effectively, and at the same time promote the development of high fashion design.
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Saaidin, Husna, Suriati Saidan, Wan Nadhra Ixora Wan Kamarulbaharin, and Shaheela Abu Bakar. "The Perception of Malaysian Youth Towards Indonesia Modest Fashion." Idealogy Journal 7, no. 1 (April 1, 2022): 8–14. http://dx.doi.org/10.24191/idealogy.v7i1.329.
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The Malaysian modest fashion industry is a lucrative product category that is worth to look out for since 61.3% of its population are Muslims. Thus, it is imperative that the preferences of the Muslims youth in fashion design are determined. This could invariably give fashion designers the direction forward in creativity and productivity. The preferences of modest fashion in this study were determined by comparing modest clothing of well-known designers from Indonesia and Malaysia. The characteristics of modest fashion designs done by selected fashion designers from both countries were observed and various main features were categorized. A quantitative method of surveys was then done to gauge the perceptions of 50 Malaysian youth towards their preferred modest fashion design by comparing the characteristics of Indonesia and Malaysian modest fashion. Further qualitative method was also done by giving the respondents an open question. It was found that the respondents preferred minimalist designs and perceived that Malaysian modest fashion designs are more sharia compliant compared to the Indonesian modest fashion design. Malaysian youth would like to see more creative and innovative designs in the future. It is recommended that Malaysian designers to use a bolder approach and more creativity in their designs. The instrument used could be enhanced by giving more clothing examples that could identify more characteristics of the modest fashion designs that meet consumers demands.
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Abdulraheem, Issa, Amina Hassan Usman, Rahman Mustapha, Oladoke Sunday Oladeji, and Abdulwaheed Olajide Omotosho. "Entrepreneurship and Female Fashion Designers in Nigeria." African Journal of Management and Business Research 15, no. 1 (May 31, 2024): 105–15. http://dx.doi.org/10.62154/40h5zs89.
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This study delves into the entrepreneurial journey of female fashion designers in Nigeria, exploring the unique challenges and opportunities they encounter within the context of a dynamic and evolving fashion industry. It examines the impact of business orientation and skills on fashion designers in Nigeria. This study adopts qualitative research methods, including in-depth interviews and thematic analysis, identifying key themes that encapsulate the experiences of these women as they navigate the intricacies of entrepreneurship in the fashion sector. The discussion highlights the critical role of creativity, skills, and business factors in shaping their entrepreneurial endeavors. The findings contribute to a deeper understanding of female entrepreneurship in the Nigerian fashion industry, offering insights for policymakers, stakeholders, and aspiring entrepreneurs. This study not only amplifies the voices of female fashion designers in Nigeria but also sheds light on the broader implications for female entrepreneurs, gender equality, and economic empowerment in the African context. The study recommends that women fashion designers need to have a formal business plan on how to make profit. The women entrepreneurs need to expand their business for continuity of its activities.
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Varol, Esra, and Nilay Ertürk. "The relationship of fashion and art and art literacy of the students of the department of fashion design." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 437–52. http://dx.doi.org/10.18844/prosoc.v2i1.328.
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The existence of the relationship between fashion and art dates back to old times. The aim of Worth and Poiret with the arising of haute couture in 19th century was the acceptance of fashion designers as artists. Even though this situation has never realized completely, many designers continued designing clothing with the sense of art and still do. The subject that unites design and art on the common ground is that there is an effort of creating an esthetical product at the end of both activities. In this direction, art lessons have always been a part of design education. As in every design field, in fashion design field art lessons take place in the curriculum. Art provides the inspiration for the designers; students and other designers design clothing by being influenced by the art. Thus, art becomes an eternal research field for designers, art literacy comes into prominence in this respect. The aim of this research is to discuss the relationship of art and fashion within its historical development and reveal the art literacy of the students of the department of fashion design. The research has been carried out in Eskisehir Anadolu University Faculty of Architecture and Design Department of Fashion Design. The method of the research is descriptive. In order to obtain the research data along with literature review art literacy scale that is developed by Assistant Professor Doctor Ä°zzet Yucetoker has been used. Scale 96 has been applied on fashion design student.Keywords: fashion, art, fashion design, art literacy.