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Mennborg, Alexander. "AI-Driven Image Manipulation : Image Outpainting Applied on Fashion Images." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85148.
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The e-commerce industry frequently has to deal with displaying product images in a website where the images are provided by the selling partners. The images in question can have drastically different aspect ratios and resolutions which makes it harder to present them while maintaining a coherent user experience. Manipulating images by cropping can sometimes result in parts of the foreground (i.e. product or person within the image) to be cut off. Image outpainting is a technique that allows images to be extended past its boundaries and can be used to alter the aspect ratio of images. Together with object detection for locating the foreground makes it possible to manipulate images without sacrificing parts of the foreground. For image outpainting a deep learning model was trained on product images that can extend images by at least 25%. The model achieves 8.29 FID score, 44.29 PSNR score and 39.95 BRISQUE score. For testing this solution in practice a simple image manipulation pipeline was created which uses image outpainting when needed and it shows promising results. Images can be manipulated in under a second running on ZOTAC GeForce RTX 3060 (12GB) GPU and a few seconds running on a Intel Core i7-8700K (16GB) CPU. There is also a special case of images where the background has been digitally replaced with a solid color and they can be outpainted even faster without deep learning.
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Simó, Serra Edgar. "Understanding human-centric images : from geometry to fashion." Doctoral thesis, Universitat Politècnica de Catalunya, 2015. http://hdl.handle.net/10803/327030.
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Understanding humans from photographs has always been a fundamental goal of computer vision. Early works focused on simple tasks such as detecting the location of individuals by means of bounding boxes. As the field progressed, harder and more higher level tasks have been undertaken. For example, from human detection came the 2D and 3D human pose estimation in which the task consisted of identifying the location in the image or space of all different body parts, e.g., head, torso, knees, arms, etc. Human attributes also became a great source of interest as they allow recognizing individuals and other properties such as gender or age. Later, the attention turned to the recognition of the action being performed. This, in general, relies on the previous works on pose estimation and attribute classification. Currently, even higher level tasks are being conducted such as predicting the motivations of human behavior or identifying the fashionability of an individual from a photograph.
In this thesis we have developed a hierarchy of tools that cover all these range of problems, from low level feature point descriptors to high level fashion-aware conditional random fields models, all with the objective of understanding humans from monocular, RGB images. In order to build these high level models it is paramount to have a battery of robust and reliable low and mid level cues. Along these lines, we have proposed two low-level keypoint descriptors: one based on the theory of the heat diffusion on images, and the other that uses a convolutional neural network to learn discriminative image patch representations. We also introduce distinct low-level generative models for representing human pose: in particular we present a discrete model based on a directed acyclic graph and a continuous model that consists of poses clustered on a Riemannian manifold. As mid level cues we propose two 3D human pose estimation algorithms: one that estimates the 3D pose given a noisy 2D estimation, and an approach that simultaneously estimates both the 2D and 3D pose. Finally, we formulate higher level models built upon low and mid level cues for human understanding. Concretely, we focus on two different tasks in the context of fashion: semantic segmentation of clothing, and predicting the fashionability from images with metadata to ultimately provide fashion advice to the user.
In summary, to robustly extract knowledge from images with the presence of humans it is necessary to build high level models that integrate low and mid level cues. In general, using and understanding strong features is critical for obtaining reliable performance. The main contribution of this thesis is in proposing a variety of low, mid and high level algorithms for human-centric images that can be integrated into higher level models for comprehending humans from photographs, as well as tackling novel fashion-oriented problems.Siempre ha sido una meta fundamental de la visión por computador la comprensión de los seres humanos. Los primeros trabajos se fijaron en objetivos sencillos tales como la detección en imágenes de la posición de los individuos. A medida que la investigación progresó se emprendieron tareas mucho más complejas. Por ejemplo, a partir de la detección de los humanos se pasó a la estimación en dos y tres dimensiones de su postura por lo que la tarea consistía en identificar la localización en la imagen o el espacio de las diferentes partes del cuerpo, por ejemplo cabeza, torso, rodillas, brazos, etc...También los atributos humanos se convirtieron en una gran fuente de interés ya que permiten el reconocimiento de los individuos y de sus propiedades como el género o la edad. Más tarde, la atención se centró en el reconocimiento de la acción realizada. Todos estos trabajos reposan en las investigaciones previas sobre la estimación de las posturas y la clasificación de los atributos. En la actualidad, se llevan a cabo investigaciones de un nivel aún superior sobre cuestiones tales como la predicción de las motivaciones del comportamiento humano o la identificación del tallaje de un individuo a partir de una fotografía. En esta tesis desarrollamos una jerarquía de herramientas que cubre toda esta gama de problemas, desde descriptores de rasgos de bajo nivel a modelos probabilísticos de campos condicionales de alto nivel reconocedores de la moda, todos ellos con el objetivo de mejorar la comprensión de los humanos a partir de imágenes RGB monoculares. Para construir estos modelos de alto nivel es decisivo disponer de una batería de datos robustos y fiables de nivel bajo y medio. En este sentido, proponemos dos descriptores novedosos de bajo nivel: uno se basa en la teoría de la difusión de calor en las imágenes y otro utiliza una red neural convolucional para aprender representaciones discriminativas de trozos de imagen. También introducimos diferentes modelos de bajo nivel generativos para representar la postura humana: en particular presentamos un modelo discreto basado en un gráfico acíclico dirigido y un modelo continuo que consiste en agrupaciones de posturas en una variedad de Riemann. Como señales de nivel medio proponemos dos algoritmos estimadores de la postura humana: uno que estima la postura en tres dimensiones a partir de una estimación imprecisa en el plano de la imagen y otro que estima simultáneamente la postura en dos y tres dimensiones. Finalmente construimos modelos de alto nivel a partir de señales de nivel bajo y medio para la comprensión de la persona a partir de imágenes. En concreto, nos centramos en dos diferentes tareas en el ámbito de la moda: la segmentación semántica del vestido y la predicción del buen ajuste de la prenda a partir de imágenes con meta-datos con la finalidad de aconsejar al usuario sobre moda. En resumen, para extraer conocimiento a partir de imágenes con presencia de seres humanos es preciso construir modelos de alto nivel que integren señales de nivel medio y bajo. En general, el punto crítico para obtener resultados fiables es el empleo y la comprensión de rasgos fuertes. La aportación fundamental de esta tesis es la propuesta de una variedad de algoritmos de nivel bajo, medio y alto para el tratamiento de imágenes centradas en seres humanos que pueden integrarse en modelos de alto nivel, para mejor comprensión de los seres humanos a partir de fotografías, así como abordar problemas planteados por el buen ajuste de las prendas.
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Ginsburg, Sara A. "Postfeminism Analysis of Sexualized Images in Fashion Advertisements." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1543.
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This article applies methods of semiotic analysis to representations and understandings of female sexuality in fashion advertising. Through the framework of Paolo Freire’s Action Learning model, also known as the “empowerment spiral”, it is concluded that advertisements dealing in overt sexualization's of traditional conceptions of femininity produces a one-sided discourse in femininity in which the decoding of media images is oversimplified through a binary approach. In effect, this produces conflicts detrimental to feminist progress by virtue of ostrisizing postfeminist appreciations of sexual empowerment.
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Neupane, Aashish. "Visual Saliency Analysis on Fashion Images Using Image Processing and Deep Learning Approaches." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2784.
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ABSTRACTAASHISH NEUPANE, for the Master of Science degree in BIOMEDICAL ENGINEERING, presented on July 35, 2020, at Southern Illinois University Carbondale. TITLE: VISUAL SALIENCY ANALYSIS ON FASHION IMAGES USING IMAGE PROCESSING AND DEEP LEARNING APPROACHES.MAJOR PROFESSOR: Dr. Jun QinState-of-art computer vision technologies have been applied in fashion in multiple ways, and saliency modeling is one of those applications. In computer vision, a saliency map is a 2D topological map which indicates the probabilistic distribution of visual attention priorities. This study is focusing on analysis of the visual saliency on fashion images using multiple saliency models, evaluated by several evaluation metrics. A human subject study has been conducted to collect people’s visual attention on 75 fashion images. Binary ground-truth fixation maps for these images have been created based on the experimentally collected visual attention data using Gaussian blurring function. Saliency maps for these 75 fashion images were generated using multiple conventional saliency models as well as deep feature-based state-of-art models. DeepFeat has been studied extensively, with 44 sets of saliency maps, exploiting the features extracted from GoogLeNet and ResNet50. Seven other saliency models have also been utilized to predict saliency maps on these images. The results were compared over 5 evaluation metrics – AUC, CC, KL Divergence, NSS and SIM. The performance of all 8 saliency models on prediction of visual attention on fashion images over all five metrics were comparable to the benchmarked scores. Furthermore, the models perform well consistently over multiple evaluation metrics, thus indicating that saliency models could in fact be applied to effectively predict salient regions in random fashion advertisement images.
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Liu, Christine M. (Christine Mae). "Urbanhermes : fashion signaling and the social mobility of images." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37393.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (p. 91-94).
Urbanhermes is a messenger bag designed to display and disseminate meaningful yet ephemeral images between people in the public realm. These images surface as representation of the daily zeitgeist; the image as fashion emerges and grows in popularity as knowledge diffuses over a very short period of time. A wireless communication infrastructure allows users to pass along images from bag to bag, and potential proximity sensing adds awareness of others nearby who share a similar fashion signal. Dynamically formed communities interplay and merge through the coupled system of shared images. Urbanhermes, through adding layers of highly temporal information upon an individual's public identity, attempts to enrich social interaction and understand the cultural role of electronic fashion. The thesis, combining both social theory and technology, develops a fashion system that can enable further discussion in areas of signaling in sociable media design. We hypothesize that electronic fashion signals in the physical realm will allow people to disclose and perceive expressive qualities about themselves that would not be possible by current material fashions. This project presents a design framework and a proof-of-concept study in which this hypothesis may be examined.
by Christine M. Liu.
S.M.
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Tu, Guoyun. "Image Captioning On General Data And Fashion Data : An Attribute-Image-Combined Attention-Based Network for Image Captioning on Mutli-Object Images and Single-Object Images." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-282925.
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Image captioning is a crucial field across computer vision and natural language processing. It could be widely applied to high-volume web images, such as conveying image content to visually impaired users. Many methods are adopted in this area such as attention-based methods, semantic-concept based models. These achieve excellent performance on general image datasets such as the MS COCO dataset. However, it is still left unexplored on single-object images.In this paper, we propose a new attribute-information-combined attention- based network (AIC-AB Net). At each time step, attribute information is added as a supplementary of visual information. For sequential word generation, spatial attention determines specific regions of images to pass the decoder. The sentinel gate decides whether to attend to the image or to the visual sentinel (what the decoder already knows, including the attribute information). Text attribute information is synchronously fed in to help image recognition and reduce uncertainty.We build a new fashion dataset consisting of fashion images to establish a benchmark for single-object images. This fashion dataset consists of 144,422 images from 24,649 fashion products, with one description sentence for each image. Our method is tested on the MS COCO dataset and the proposed Fashion dataset. The results show the superior performance of the proposed model on both multi-object images and single-object images. Our AIC-AB net outperforms the state-of-the-art network, Adaptive Attention Network by 0.017, 0.095, and 0.095 (CIDEr Score) on the COCO dataset, Fashion dataset (Bestsellers), and Fashion dataset (all vendors), respectively. The results also reveal the complement of attention architecture and attribute information.Bildtextning är ett avgörande fält för datorsyn och behandling av naturligt språk. Det kan tillämpas i stor utsträckning på högvolyms webbbilder, som att överföra bildinnehåll till synskadade användare. Många metoder antas inom detta område såsom uppmärksamhetsbaserade metoder, semantiska konceptbaserade modeller. Dessa uppnår utmärkt prestanda på allmänna bilddatamängder som MS COCO-dataset. Det lämnas dock fortfarande outforskat på bilder med ett objekt.I denna uppsats föreslår vi ett nytt attribut-information-kombinerat uppmärksamhetsbaserat nätverk (AIC-AB Net). I varje tidsteg läggs attributinformation till som ett komplement till visuell information. För sekventiell ordgenerering bestämmer rumslig uppmärksamhet specifika regioner av bilder som ska passera avkodaren. Sentinelgrinden bestämmer om den ska ta hand om bilden eller den visuella vaktposten (vad avkodaren redan vet, inklusive attributinformation). Text attributinformation matas synkront för att hjälpa bildigenkänning och minska osäkerheten.Vi bygger en ny modedataset bestående av modebilder för att skapa ett riktmärke för bilder med en objekt. Denna modedataset består av 144 422 bilder från 24 649 modeprodukter, med en beskrivningsmening för varje bild. Vår metod testas på MS COCO dataset och den föreslagna Fashion dataset. Resultaten visar den överlägsna prestandan hos den föreslagna modellen på både bilder med flera objekt och enbildsbilder. Vårt AIC-AB-nät överträffar det senaste nätverket Adaptive Attention Network med 0,017, 0,095 och 0,095 (CIDEr Score) i COCO-datasetet, modedataset (bästsäljare) respektive modedatasetet (alla leverantörer). Resultaten avslöjar också komplementet till uppmärksamhetsarkitektur och attributinformation.
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Ragnarsson, Julia. "WHO ARE U WEARING? : investigating iconic celebrity fashion images as dress." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10749.
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This collection is an observation of the relationship between celebrity culture, fashion and the female form. Exploring how the modern fashion image is communicated to a wider audience through mass media. At the same the work aims to explore new ways of developing clothing from a starting point in figurative prints. The work explores the body as the new context of the celebrity image in order to display different perspectives of both image and body. This has been found through an interaction between print and body, the visual perception within the relationship of these and from a social point of view. The work displays thoughts regarding perspectives on body ideals, female stereotypes, fashion, clothing, mass media and fame in today’s society. The bodies of celebrities are seen as walking billboards and advertisement for designers, the work questions this adopted culture by highlighting the phenomenon. While the work is a comment on the ridiculousness within the mass media and celebrity worship, it is also a homage to these women who have put a mark in fashion history. The final result could be seen as a series examples of possible outcomes from working with the image in relation to body. But also as a statement on how the current state of fashion, where new ideas seem less important as who is wearing what.
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Cant, Mercedes. "#AerieREAL: Exploring the Tactics of Using Authentic Images in Branding of Young Women’s Fashion Companies." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39625.
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This thesis explores themes of authenticity in the Aerie REAL branding campaign. In it, I explore how Aerie links notions of authenticity, expressed as a vocal denunciation of photo-editing techniques, with the ideal female body. To do this, I analyze Aerie’s branding materials (including social media posts on two different websites, as well as Aerie product photography) in context of its lack of photo-editing and other branding choices, including its choice of brand spokesperson. I consider these materials within a semiotic framework developed from the French school of semiotics, and analyze them both through this framework and a content analysis. I also consider concepts of Aerie’s brand personality. In this study I illuminate many of the tensions between Aerie’s explicit goals in its REAL campaign and what it has presented within the campaign. This has implications for future representations of women in advertising, as well as the use of authenticity as a brand position.
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Chanforan, Elsa. "Les griffes et le couturier : Représentations et usages contrastés de l'animalité dans l'iconographie de la mode." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0047/document.
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Ce travail de recherche porte sur les liens qu'entretiennent l'animal et la mode, au prisme d'une étude iconographique orientée par une approche pluridisciplinaire. Entre fascination et paradoxes, la mise à contribution de l'animal et de ses attributs – physiques, graphiques, symboliques – sert d'abord les productions matérielles et immatérielles de la mode : les bêtes participent aux stratégies de transfiguration du réel propres à ce secteur économique singulier. Dans le même mouvement, le recours à l'animal apparaît aussi comme le relais esthétisé de représentations normées ; il devient un prétexte pour penser le monde, la nature humaine et ses rapports sociaux. Ainsi, tout en suivant la dynamique contemporaine d'engouement pour une Wilderness fantasmée, l'iconographie de la mode participe aux réécritures actuelles de ce qui fait l'humain. Néanmoins, les images de mode jouent un rôle dans les réévaluations et les négociations croissantes des frontières qui séparent les membres du vivant. En développant un travail spécifique autour du corps et de ses parures, elles proposent une voie alternative pour reconsidérer une altérité animale aux contours de plus en plus poreux. Il s'agit donc d'observer comment les formes visuelles de la mode et de son imaginaire traduisent la complexité de relations anthropozoologiques contemporaines en pleine mutationThis research explores the connections between fashion and the animal, by means of an iconographic study guided by a multidisciplinary approach. Raising fascination and paradoxes, the use of the animal and its attributes – physical, graphical, symbolic – benefits, in the first place, material and symbolic fashion’s productions : animals are involved in the transfiguration-of-reality strategies peculiar to the unique economic sector that is fashion industry. At the same time, animals appear to be an efficient and aesthetic way of representing human activity : they are a tool to rethink the world, human nature and social relationships. Thus, involved in the general contemporary dynamics of keen interest for a fantasized Wilderness, the fashion iconography contributes to the current rewriting of human definition. Nevertheless, fashion pictures play a part in the growing negotiation of boundaries between members of the biological field. By developing a specific work on the human body an its fineries, they offer an alternative path to the reconsideration of an animal otherness whose borders seem more permeable everyday. This work is an attempt to examine how fashion's visual forms and imaginary express the contemporary complexity of far-changing anthropozoologic interactions
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Yamamoto, Takahisa. "Deep Learning Approaches on the Recognition of Affective Properties of Images." Kyoto University, 2020. http://hdl.handle.net/2433/259068.
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Oglesby, Corliss Deionn. "The New Frontier of Advertising: Computer-Generated Images as Influencers." UNF Digital Commons, 2019. https://digitalcommons.unf.edu/etd/861.
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The use of computer-generated images as influencers of consumer opinions and behavior is an emerging advertising strategy. This research investigates the advantages and disadvantages of using computer-generated images (CGI) as influencers of human behavior from the perspective of promoting a brand. The power of electronic word of mouth (social media) and how it is incorporated in computer-generated images used as influencers is discussed as a major factor in consumer decision making. The social media account content of computer-generated images was analyzed by conducting a frame analysis to discern how computer-generated images are portrayed on social media. A frame analysis of 577 social media posts was used to develop a framework for future social media strategies for computer-generated images. CGIs be portrayed as transparent, engaging, and as a socialite. Best practices for using computer-generated images were identified by conducting an interview with a representative of a brand that has collaborated with an influential computer-generated image. Innovation, listening to the consumer voice, and creative control should be prioritized in this growing field of CGIs and CGI partnerships.
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Queiroz, Mário Antônio Pinto de. "O herói desmascarado: a imagem do masculino nos editoriais da revista inglesa "Arena Homme Plus" entre 1995 e 2007." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5050.
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Previous issue date: 2008-04-23The objective of this study is to analyze how fashion editorials reflect the image of man at the turn of the 21st century, and discuss the relation between fashion and the hero in the masculine world. It aims at discussing whether man s fashion through the images developed for this magazine points at transformations in the behavior of men or maintains conservative traits that restrict novelties in men s outfits and behavior. The magazine chosen Arena Homme Plus is one of the few magazines worldwide that is exclusively geared towards men s fashion. This British publication features major designers from Europe and the United States and circulates worldwide showing the work of designers, photographers, producers thus influencing the fashion industry and consumers. This study starts by focusing on the early days of fashion photography in the 1920s when photographs begin to replace illustration. It points out that a journalistic production geared to the male public had been around since the 19th century and included from men s magazines with essays of female nudes to our object of study: men s fashion magazines. The study focuses on the photo essays, the fashion editorials, of these issues published in the late 1990s and beginning of the third millennium and on the content revealed through the eyes of major contemporary photographs and though the choices made by fashion professionals during the production stage. Fashion editorials account for most of the content of Arena Homme Plus and each issue may include up to six of them, with an average of forty photographs. The editorials were chosen according to their relevance to discuss the hero, investigating the different faces of man at the turn of the millennium. The theoretical framework includes the concepts of imprinting, imaginary and noosphere as developed by Edgard Morin. The analysis is based on the theoretical framework provided by semiotics as applied to the field of culture, specifically to fashion. The study concludes that the image of man has been shattered into myriad variations so that it is no longer possible to try to think of the masculine as a single segment, something that vanguard fashion magazines, such as Arena Homme Plus, have long recognized
O objetivo deste estudo é analisar como os editoriais de moda refletem a imagem do homem no final do século XX e início do XXI, discutindo como se dá a relação moda versus o herói no universo masculino. A intenção é discutir se a moda masculina através das imagens elaboradas para esta publicação aponta transformações no comportamento do masculino e se ainda preserva traços conservadores, restritivos às novidades nos trajes e no comportamento do homem. A revista escolhida Arena Homme Plus é uma das únicas publicações do mundo dedicada exclusivamente à moda masculina. Esta publicação inglesa, que abrange as grandes grifes da Europa e dos Estados Unidos, circula em todo o mundo apresentando trabalhos de estilistas, fotógrafos, produtores, influenciando a indústria da moda e seus consumidores. O presente estudo parte dos primórdios da fotografia de moda, quando, por volta dos anos 20, fotos começam a substituir croquis. A pesquisa aponta o jornalismo voltado ao masculino desde o século XIX, passando pelas revistas masculinas com ensaios de nus femininos até chegarmos ao nosso objetivo maior: as revistas de moda masculina dos últimos anos da década de 1990 e do início deste terceiro milênio. Nessas publicações o foco está nos ensaios fotográficos, como eles revelam os principais fotógrafos contemporâneos e como são produzidos pelos profi ssionais de moda. Os editoriais de moda representam o maior conteúdo da revista Arena Homme Plus e cada edição pode trazer até seis, o que representa em média quarenta fotos. Os editoriais escolhidos são os mais significativos para a discussão do herói, pesquisando as diversas faces do homem nesta virada de milênio. O instrumental teórico utiliza os conceitos de imprinting, imaginário e noosfera, de Edgar Morin. A base teórica da análise segue a linha da semiótica no campo de discussão sobre a cultura, mais especificamente sobre a moda. Conclui-se que a imagem do homem se estilhaçou numa palheta de grandes variações e que não há como tentar resumir o masculino como um único segmento, o que as revistas de moda de vanguarda, como a Arena Homme Plus, já não considera há tempos
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Jobling, Paul. "Fashion figures : word and image in contemporary fashion photography." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4290/.
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This study explores the tension between text and image in the fashion spreads published in three magazines since 1980: The Face, Arena and Vogue. It takes as its starting part Roland Barthes' axiom that the magazine is 'a machine for making Fashion' and pursues his thesis that it is through 'represented clothing', rather than real garments themselves, that the meaning of Fashion is connoted. But it also contests his idea that the Fashion system is a vacuous or trivial form of signification, and in exploring both the verbal and pictorial elements of fashion spreads aims to uncover how they intersect with wider cultural events. The material under discussion has been arranged into three separate parts. Each one has its own discursive framework and diverse methodological perspective, yet it is also dialectically related to the others in a wider argument concerning the construction of the body in word and image in contemporary fashion photography. Part One serves to provide an overview of the evolution of the three chief titles consulted, considering the social, economic and aesthetic factors that have been instrumental in forging an identity for fashion photography since 1980. At the same time, it examines the preoccupation with a postmodern treatment of time and history in various spreads and assesses whether iconocentrism ipso facto renders fashion photography devoid of any deeper meaning. Part Two builds on this argument by analysing the ideas propounded in Roland Barthes' Systeme de la Mode, chiefly the distinction he makes between written clothing (le vetement ecrit) and image-clothing (le vetement-image), in the context of debates on logocentrism. Here I assess whether Barthes' predilection for written clothing is both viable and relevant when it comes to making sense of the symbolic content of represented clothing with particular reference to a fashion spread called 'Amoureuse' from Elle (June 1958). I also evince the same spread along with more contemporary examples to assess the way that Barthes deals with sex and gender in Systeme de la Mode. Part Three consolidates this exploration of gender and fashion by concentrating on the intense interest in sex and the body that has subtended much fashion imagery between 1980 and 1996. At this point, I deal with the objectification of female and male sexualities by mobilising the central tropes of the 'girl' and the phallic body respectively. In the process, I raise a diverse and complex intersection of related issues concerning identity formation and otherness, power, and visual pleasure. Thus I examine the investment that different producers and spectators might have in the fashion image: male and female; straight and gay; and white and non-white. In particular, I draw heavily on the psychoanalytical theories of Freud and Lacan, as well as more recent writing by Julia Kristeva, Luce Irigaray, Judith Butler and Diana Fuss.
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Griffiths, Joanna Megan. "'A sort of suicide' : Charlotte Mew (1869-1928) and literary fashion." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326630.
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Morin, Alice. "Au cœur des magazines ˸ de collaborations en négociations, le système des images de mode américaines (années 1960-années 1980)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA109.
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Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuronThis doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core
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Kleist, Sofia, and Linnéa Lindstedt. "Brand image in multi-channel fashion companies." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23786.
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Branding has become increasingly important in order to distinguish a brand from numerous competitors in the fashion industry. An effective way to differentiate the brand from others has shown to be through the brand image, which is why managers should work on sustaining a positive brand image. Managing brand image through different sales channels has become even more important due to the rise of multi-channels. The integration and effort of offline and online channels can result in both enhanced purchase intention and brand image. Previous literature has shown how purchase intention can be derived from the level of congruity between the consumer’s self-image and the brand’s image. Despite this, most previous research is conducted from a company perspective, why this research intends to provide theoretical contributions from a consumer perspective. This is particularly important for fashion brands, as for the ever-changing and highly competitive characteristics of the fashion market. Furthermore, an understanding of consumers’ perception of brand image in different sales channels has been missing in previous research. Therefore, the aim of this research is to investigate how consumers perceive brand image of multi-channel fashion companies for the purpose of providing insight into how brand image should be managed through different channels. Using a qualitative perspective, this explorative research conducts ten semi-structured interviews with women and men between the ages of 18 and 63, that are experienced within fashion consumption in online and offline channels. Analysis of the research findings indicates that there are 13 attributes that consumers consider as most prominent for brand image; six offline attributes and seven online attributes. For the offline image, it emerges that the surrounding environment, products and collections, price and value, store personnel and service, reputation are prominent attributes. For online, easy access and navigation, design and aesthetics, merchandise description, price and value, communication, services and reputation are prominent. It is also found that interviewees find it highly important that the image is consistent through different channels so that the brand conveys a holistic image.
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Malmgren, De Oliveira Stefanie. "On seeing : in fashion design." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-8656.
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In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing. There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research. In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities. The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’. The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.
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Ehlin, Lisa. "Becoming Image : Perspectives on Digital Culture, Fashion and Technofeminism." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121923.
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Departing from a technofeminist perspective, Becoming Image, places the digital image in a broader context of modern and postmodern technological discourses and fashion. In four articles, the compilation dissertation expands a contemporary and imagistic tech discourse by questioning the ideology of ”masculinity”―specifically the idea of it as a historically male domain. Through interviews, discourse analysis and feminist critique, as well as an interdisciplinary focus on digital media, the project investigates how everyday image practices open up for new embodied experiences. Focusing on women and social media, the articles examines the way material and immaterial aspects of images overlap in everyday life. Rather than artistic intention, emotions and basic human interaction often lie at heart of becoming image. Fashion is, however, highly present in this critical transformation. Not only as collaborative projects emerge out of combining new technologies and dress―such as using your smartphone to elevate your clothing―but also how fashion is a technology itself. Fashion highlights the body as medium, but fashion is also always (mostly) image. Previous research around the digital image and its meaning has often stressed the banality of everyday image practices as taking selfies. However, these debates represent deeper cultural values and norms, which the dissertation reaches beyond. As women, and also queer and trans-people increasingly innovate and interfere with normative technological usage, it becomes evident that such groups have been excluded from communities organized around technological power and skill. As with language, technology and digital imagery are not neutral media. Women have hence been excluded―and been forced to use instruments and apps seemingly made for strict masculine purposes. Arguably, image practices such as selfies or image micro-blogging encourage women to “write” themselves out of a world they have not constructed themselves. Thus, Becoming Image simultaneously illuminates the structural and fundamental levels of technology and gender―while also suggesting new methodological and theoretical ways of studying and approaching digital media.At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 4: Accepted.
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Rosholm, Joanna Suzanne. "The politics of fashion American leaders and image perception /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457042461/viewonline.
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Camponez, Rira Daniela da Silva. "Batman. Sete décadas de histórias e de estórias. A evolução da imagem de um herói à luz das tendências de moda." Master's thesis, Faculdade de Arquitectura de Lisboa, 2010. http://hdl.handle.net/10400.5/2999.
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Tese de Mestrado em Design de ModaSe a presente dissertação não apresentasse um título e começasse por analisar um personagem vestido de morcego que anda pelas ruas a combater o crime, o leitor certamente saberia identificar a figura em questão. Batman conta, em 2010, com uma história de setenta anos. Foram centenas de artistas que nele viram fundamento para o seu trabalho e que ajudaram a crescer o personagem e o seu universo. Desenhadores, designers, realizadores, argumentistas ou actores são apenas alguns exemplos dos homens que contribuíram para a história de Batman. Nas estórias deste personagem, Bruce Wayne encarna Batman e a acção desenrola-se geralmente numa cidade imaginária chamada Gotham City, muito semelhante às cidades da época em que a estória é desenhada. No entanto, o ambiente apresenta algumas diferenças: a moda, a arquitectura ou os veículos são artefactos fantasiados mas simultaneamente realísticos, tornando a linha de fronteira entre o real e o imaginário tremendamente ténue. Por seu lado, a moda surge como reflexo da sociedade, dependendo de factores de origem social, cultural ou económica. Desde o nascimento do protagonista, no final dos anos 30, é possível encontrar grandes transformações na sua imagem, relacionando as primeiras aparições de Batman com a actualidade. Esta imagem, que conta não só com o Batsuit, mas com todo o design da série, deixa influenciar-se como qualquer outro tipo de objecto pelas tendências de moda ao longo do tempo. Desta forma, a presente investigação pretende, não só analisar a imagem do Homem Morcego – ao nível das formas, cores, texturas e materiais – como também o design de ambientes, as cidades povoadas pelo imaginário, os objectos, assim como os personagens secundários. O projecto aspirou comprovar que as transformações da imagem de Batman são reflexo da moda vigente. Esta reflexão tem por base imagens: quer da banda desenhada, como das séries televisivas ou ainda das obras cinematográficas centradas no super-herói. Tornando a sociedade como fonte de inspiração para a imagem de Batman, a dissertação proposta visa igualmente, em contrapartida, reconhecer a influência deste no design de moda.
If this dissertation did not announce a title and began by analyzing a character dressed as a bat, moving through the streets to fight crime, the reader would certainly identify the figure in question. Batman counts, in 2010, with a history of seventy years. There were hundreds of artists who saw in him the basis for their work and helped to grow the character and his universe. Drawers, designers, directors, screenwriters and actors are just some examples of people who contributed to the history of Batman. In this character’s stories, Bruce Wayne embodies Batman and the action usually takes place in an imaginary city called Gotham City, much like the cities of the time in which the story is drawn. However, the ambience has some differences: the fashion, architecture or vehicles are artifacts both imagined, but realistic at the same time, making the border line between the real and imaginary tremendously blurred. For its part, fashion design emerges as a reflection of society, depending on factors of social, cultural or economic origin. Since the birth of the protagonist in the late 30's, you can find great changes in his image, relating the first appearances of Batman with the latest ones. This image, which includes not only the Batsuit but the whole design of the series, lets itself be influenced as any other common object by the fashion trends over time. Thus, this investigation aims to analyze not only the image of Batman - in forms, colors, textures and materials - as well as the design of environments, the cities populated by the imaginary, the objects or even the secondary characters. The project aspired to prove that transformations of the Batman’s image are a reflection of the fashion trends. This reflection is based on images: either of comics or television series or even of the superhero’s movies. Making the society as a source of inspiration to Batman’s image, the proposed dissertation also has the purpose of recognizing its influence on fashion design.
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Erlandsson, Maria, and Elin Forslund. "Are intermediary luxury fashion brands excluding overweight and obese women in the UK, by not offering their sizes among its assortments?" Thesis, Högskolan i Halmstad, Centre for International Marketing and Entrepreneurship Research (CIMER), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-28503.
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Title: Are intermediary luxury fashion brands excluding overweight and obese women in the UK, by not offering their sizes among its assortments? Authors: Elin Forslund and Maria Erlandsson Supervisor:Ulf Aagerup Level: Bachelor thesis in marketing (15 ECTS). Spring 2015. Key concepts: Fashion, Intermediary Luxury, Brand Identity, Brand Image, User Imagery and Self-image Congruence. Purpose: The purpose of this study is to review the sizes available in store by three leading intermediary luxury fashion brands offered in the UK and compare it with the actual body shapes of the female UK population. This will show whether intermediary luxury fashion brands exclude overweight and obese women, by not offering their sizes among its assortments. We want to find out whether it is possible to reveal a correlation between existing branding theories and intermediary luxury fashion assortments in the UK. Theoretical framework: Our frame of reference consists of established branding theories and previous research concerning brand identity, brand image, self-image congruence, user imagery, segmentation and luxury branding. Method: This is a cross-sectional research of the descriptive kind. We have used a deductive research approach and a quantitative research method. Empirical findings: In this chapter we are presenting the results of our study through a table demonstrating the distribution of individuals and garments over weight classes. Also, any significant differences between supply and demand within any of the categories will be revealed through a Z-test. Conclusions: Obese women are by all means excluded by intermediary luxury fashion brands. The overweight women have significantly less jeans to choose from than what should be supported by their relative share of the female UK population. However, it turned out that they are not entirely excluded as they still have an amount of tops to choose from that closely matches their demand. Also we succeeded with identifying a causal correlation between branding theories and the result of our study. Therefore we have managed to provide further knowledge on how intermediary luxury fashion brands can become successful.
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JUNIOR, JOAO DALLA ROSA. "BETWEEN IMAGE AND FASHION: A STUDY ABOUT THE VISUAL HABITUS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29983@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A tese apresenta o olhar como objeto de pesquisa de um estudo sobre o campo da moda. Aborda o modo como as instâncias de comunicação, por meio da mídia, incitam disposições visuais nos agentes, tendo por base as práticas de representação do produto de vestuário que estão em consonância aos suportes de visualização das imagens de moda. Através de uma pesquisa de campo realizada em uma turma do curso de Design de Moda da Faculdade SENAI CETIQT – RJ, durante o semestre de 2015/01, foram analisadas as formas de apropriação das convenções visuais em jogo na comunicação de moda. Fotografias e questionários foram utilizados para a construção dos dados de pesquisa. Pelo exame das experiências de campo, as informações obtidas foram postas em diálogo com referências teóricas da sociologia da arte e da moda, bem como da história da arte. A partir do emprego de vitrines e revistas de moda, delimitou-se o contexto das práticas de comunicação da moda. As disposições visuais foram analisadas de acordo com as imagens e a interação entre os agentes responsáveis por sua produção. Três padrões visuais de percepção foram identificados. O primeiro se refere à frontalidade como característica resultante da relação entre as práticas da fotografia e a pose das modelos. O segundo se estabelece pela elegância como um significado atribuído ao conjunto de elementos visíveis nas imagens. E, o terceiro se relaciona ao espaço dos desfiles e ao modo como se instaura uma perspectiva monocular devido aos ângulos de registro das passarelas.
The thesis presents the look as object of research of a study on the field of fashion. It discusses the way in which the media incites visual dispositions to the agents, based on the practices of representation of the clothing product that are in line with the supports of visualization of the fashionable images. Through a field research carried out in a class of Fashion Design course at SENAI CETIQT College - RJ, during the semester of 2015/01, the forms of appropriation of visual conventions at play in fashion communication were analyzed. Photographs and questionnaires were used to construct the research data. By examining the field experiences, the information obtained was put into dialogue with theoretical references of the sociology of art and fashion, as well as the history of art. From the use of shop windows and fashion magazines, the context of fashion communication practices was delimited. The visual dispositions were analyzed according to the images and the interaction between the agents responsible for their production. Three visual patterns of perception were identified. The first refers to frontality as a characteristic resulting from the relationship between the practices of photography and the pose of models. The second is established by elegance as a meaning attributed to the set of elements visible in the images. And, the third is related to the space of the fashion shows and the way in which a monocular perspective is established due to the angles of the catwalks.
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Smith, Gisele Milan, and Gisele Milan Smith. "C{elle}ebrate Real World Diversity in Fashion: An Magazine on How Fashion Magazines and the Fashion Industry Affect the Body Image of its Consumers." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625155.
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In the middle of 2016, I read a statistic that said "70% of Women Feel Depressed After Looking at a Fashion Magazine for 3 Minutes." I don’t know about you, but for me that is alarming, especially as a journalism student and, more specifically, one who wants to enter fashion publishing.
Whether I am writing an article for a class or writing my blog in my free time, positively impacting my audience has always been a goal that I have tried to reach in all of my journalistic writing. Despite a statistic that says nearly three-fourths of women are depressed reading fashion magazines, I believe the fashion magazine industry has the ability to change and better serve the readership with positive, active steps.
My belief led me to create this model magazine, C{elle}berate, one that celebrates real-world diversity, recognizing the variety of people in body type, race, culture and lifestyle. This magazine, completely written and designed by me, creates positive content that serves the public instead of tearing people down.
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Costa, Maria Beatriz Pereira Martinho da. "Fast fashion : o impacto de linhas sustentáveis na imagem de marca." Master's thesis, Instituto Superior de Economia e Gestão, 2020. http://hdl.handle.net/10400.5/20673.
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Mestrado em MarketingA integração da sustentabilidade desde a produção de vestuário até ao seu fornecimento é cada vez mais valorizada pelo consumidor que está mais consciente dos impactos negativos associados à indústria da moda. Juntamente com a pressão de ONGs, designers e media, várias marcas de fast fashion começaram a adotar práticas mais sustentáveis, sendo que uma das estratégias escolhidas foi a introdução de extensões de linha sustentáveis. Como tal, torna-se relevante perceber qual o seu impacto na imagem de marca. Neste sentido, o presente estudo visa uma melhor compreensão da influência de linhas sustentáveis na imagem de marca de marcas de fast fashion. A investigação é de natureza explanatória, utiliza um tipo de estudo mono-método quantitativo e a técnica de amostragem não probabilística por conveniência. Os dados foram recolhidos através de um inquérito com base num questionário online, num horizonte temporal cross-sectional, sendo posteriormente analisados através de técnicas estatísticas no IBM SPSS Statistics 25. No total, obtiveram-se 619 respostas válidas. Segundo os resultados obtidos, as marcas de fast fashion, além de possuírem uma imagem de marca forte, devem introduzir linhas sustentáveis com uma imagem semelhante aos seus produtos convencionais, para que estas sejam bem-sucedidas e influenciem positivamente a imagem de marca. Ao nível académico, a dissertação contribui para o desenvolvimento teórico de um tema bastante atual, porém pouco investigado. Ao nível prático, visa auxiliar marcas de fast fashion no desenvolvimento de estratégias associadas à introdução de uma extensão de linha sustentável.
The integration of sustainability from the production of clothing to its supply is increasingly valued by consumers who are more aware of the negative impacts associated with the fashion industry. Along with the pressure from NGOs, designers and the media, several fast fashion brands have started to adopt more sustainable practices, being that one of the strategies chosen was the introduction of sustainable line extensions. Hence, it becomes relevant to understand its real impact on brand image. In this sense, the present study aims at a better understanding of the influence of sustainable lines in the brand image of fast fashion brands. This explanatory research uses a quantitative mono-method study and a non-probabilistic convenience sampling technique. The data was collected through an online questionnaire on a cross-sectional time horizon and analysed with statistical techniques in IBM SPSS Statistics 25. A total of 619 valid responses were collected. According to the results obtained, in addition to having a strong brand image, fast fashion brands should introduce sustainable lines with an image similar to their conventional products in order for these lines to be successful and positively influence the brand image. At the academic level, the study contributes to the theoretical development of a topic that, although current, is little explored. At a practical level, it aims to assist fast fashion brands in developing strategies associated with the introduction of a sustainable line extension.
info:eu-repo/semantics/publishedVersion
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Zahid, Iqba Muhammad. "Sustainable Fashion Consumption and Consumer Behavior." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20715.
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Thesis was carried out to make an estimation of the willingness of consumers to buy the clothes produced under eco-friendly and decent way. Neoclassic demand theory was used and basic idea was to know that either moral effects on a consumer’s individual decision while choosing the products manufactured under friendly environment or not; if yes, then how and how much. Survey method along with choice experiment analysis was used to collect the data. Selected area was Boras Sweden and 50 respondents were considered for the survey. To estimate the degree of willingness of a consumer to pay for a Swan labeled and/or Fairtrade labeled jeans, choice experiments was used. Afterwards, the collected data was used within econometric models. It has been observed from results that consumers were more willing to pay for a Swan labeled and/or Fairtrade labeled jeans than non-labeled jeans. The responsible individuals regarding environment were much more willing to pay for Fairtrade and/or Swan labeled clothes, considering the factor that production does not affect the environment in negative way and it was done under socially acceptable conditions.Program: Magisterutbildning i Fashion Management
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Romero, Chacón Berioska. "Percepción de las mujeres sobre el uso del femvertising para construir una imagen de marca en la industria de la moda." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653211.
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A lo largo de los años, la publicidad se ha encargado de explotar estereotipos relacionados a la figura femenina mediante la difusión de ideales que plantean desde los comportamientos que debe tener hasta cómo debe lucir una mujer. De esta manera, la representación de la mujer en la publicidad se ha visto afectada por un modelo poco realista. Sin embargo, desde el año 2014, esta tendencia publicitaria ha intentado ser combatida con la aparición de una nueva estrategia llamada “femvertising”. El uso de esta pretende transmitir a los consumidores una representación más valiosa y empoderada de las mujeres, para que el mensaje publicitario se mantenga alejado de la imagen estereotipada que ha venido mostrada en las últimas décadas. En este marco, el objetivo general de este artículo es analizar la percepción de las mujeres limeñas de 18 a 25 años frente al uso de femvertising para la construcción de la imagen de marca de las empresas de indumentaria. Utilizaremos un enfoque cualitativo centrado en entrevistas personales y grupales a partir de guías de indagación semiestructuradas.Over the years, advertising has been responsible for exploiting stereotypes related to the female figure through the dissemination of ideals that are told, like some kind of the behaviors they should have or how they might look like. Therefore, the representation of women in advertising has been affected by an unrealistic model. However, since 2014, this advertising trend has tried to be fought back with the emergence of a new strategy called “femvertising”. The use of this is intended to convey to consumers a more valuable and empowered representation of women, so that it’s message is kept away from the stereotyped image shown in recent decades. Within this framework, the general objective of this article is to analyze the perception of the Lima women between 18 and 25 years old, of the use of femvertising for the construction of the brand image of clothing companies. We will use a qualitative approach focused on personal and group interviews, based on semi-structured inquiry guides.
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Rubio, Romano Antonio. "Fashion discovery : a computer vision approach." Doctoral thesis, TDX (Tesis Doctorals en Xarxa), 2021. http://hdl.handle.net/10803/672423.
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Performing semantic interpretation of fashion images is undeniably one of the most challenging domains for computer vision. Subtle variations in color and shape might confer different meanings or interpretations to an image. Not only is it a domain tightly coupled with human understanding, but also with scene interpretation and context. Being able to extract fashion-specific information from images and interpret that information in a proper manner can be useful in many situations and help understanding the underlying information in an image.
Fashion is also one of the most important businesses around the world, with an estimated value of 3 trillion dollars and a constantly growing online market, which increases the utility of image-based algorithms to search, classify or recommend garments.
This doctoral thesis aims to solve specific problems related with the treatment of fashion e-commerce data, from low-level pure pixel information to high-level abstract conclusions of the garments appearing in an image, taking advantage of the multi-modality of the available data for developing some of the solutions.
The contributions include:
- A new superpixel extraction method focused on improving the annotation process for clothing images.
- The construction of an image and text embedding for fashion data.
- The application of this embedding space to the task of retrieving the main product in an image showing a complete outfit.
In summary, fashion is a complex computer vision and machine learning problem at many levels, and developing specific algorithms that are able to capture essential information from pictures and text is not trivial. In order to solve some of the challenges it proposes, and taking into account that this is an Industrial Ph.D., we contribute with a variety of solutions that can boost the performance of many tasks useful for the fashion e-commerce industry.La interpretación semántica de imágenes del mundo de la moda es sin duda uno de los dominios más desafiantes para la visión por computador. Leves variaciones en color y forma pueden conferir significados o interpretaciones distintas a una imagen. Es un dominio estrechamente ligado a la comprensión humana subjetiva, pero también a la interpretación y reconocimiento de escenarios y contextos. Ser capaz de extraer información específica sobre moda de imágenes e interpretarla de manera correcta puede ser útil en muchas situaciones y puede ayudar a entender la información subyacente en una imagen. Además, la moda es uno de los negocios más importantes a nivel global, con un valor estimado de tres trillones de dólares y un mercado online en constante crecimiento, lo cual aumenta el interés de los algoritmos basados en imágenes para buscar, clasificar o recomendar prendas. Esta tesis doctoral pretende resolver problemas específicos relacionados con el tratamiento de datos de tiendas virtuales de moda, yendo desde la información más básica a nivel de píxel hasta un entendimiento más abstracto que permita extraer conclusiones sobre las prendas presentes en una imagen, aprovechando para ello la Multi-modalidad de los datos disponibles para desarrollar algunas de las soluciones. Las contribuciones incluyen: - Un nuevo método de extracción de superpíxeles enfocado a mejorar el proceso de anotación de imágenes de moda. - La construcción de un espacio común para representar imágenes y textos referentes a moda. - La aplicación de ese espacio en la tarea de identificar el producto principal dentro de una imagen que muestra un conjunto de prendas. En resumen, la moda es un dominio complejo a muchos niveles en términos de visión por computador y aprendizaje automático, y desarrollar algoritmos específicos capaces de capturar la información esencial a partir de imágenes y textos no es una tarea trivial. Con el fin de resolver algunos de los desafíos que esta plantea, y considerando que este es un doctorado industrial, contribuimos al tema con una variedad de soluciones que pueden mejorar el rendimiento de muchas tareas extremadamente útiles para la industria de la moda online
Automàtica, robòtica i visió
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Silva, Lara Almeida da. "Personal Stylist: estilo e imagem pessoal - um case em Manaus." Universidade Federal do Amazonas, 2014. http://tede.ufam.edu.br/handle/tede/4222.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation identifies who are the stylists highlighted in Manaus who work daily with the themes of style and personal image. It has the purpose of finding out what is the view of these professionals on the issues chosen according to theoretical references, especially in the areas of knowledge of psychology and fashion. The approach of this study goes beyond. It is about a dynamics that tries to value ways more than valuing arrivals. It looks for flexibility and fluidity in the academic context. It also means providing the academic information as a way to better position a focused view of these professionals working in Manaus. Their presence working in the capital of Amazonas is very important from the point of view of regional culture, because in addition to being prominent, they are also components of a professional category that firm into one of the main capitals in the North of Brazil and the Amazon Region.
Esta dissertação identifica quem são os personal stylists em destaque na cidade de Manaus que trabalham diariamente com os temas estilo e imagem pessoal. Tem por propósito descobrir qual a visão desses profissionais sobre os temas trabalhados a partir de referências teóricas, principalmente das áreas de conhecimento da psicologia e da moda. A abordagem deste estudo vai além. Trata-se de uma dinâmica que procura mais valorizar caminhos do que chegadas, buscando flexibilidade e fluidez no contexto acadêmico. Também implica em dotar o meio acadêmico de informação como maneira de melhor posicionar uma visão focada nesses profissionais que atuam em Manaus. A presença deles atuando na capital do Amazonas é muito importante do ponto de vista da cultura regional, pois, além de se constituírem em destaques, são componentes de uma categoria profissional que se firma em uma das principais capitais da Região Norte do Brasil e da Região Amazônica.
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Ferreira, Frederica Cláudia Gouveia. "Styling e consultoria de imagem." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13440.
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Dissertação de Mestrado em Design, com a especialização em Design de Moda, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.Atento ao particular gosto e interesse na área do styling e à ambição de obter experiência no ramo, coube a oportunidade de realizar um estágio de natureza profissional na empresa Pulp Fashion, pelo período de 6 meses. Deste modo, ao longo desta dissertação, pretende-se clarificar e contextualizar o styling, bem como, expor a sua prática em contexto empresarial. A investigação previu a experimentação das áreas de estudo provenientes do styling, tais como: publicidade de moda, guarda-roupa de TV, editorial de moda, con-sultoria de imagem e desfiles. Cumpre proceder à análise da prática do styling nas dimensões experimentadas em sede do estágio, de modo a expor a metodologia adoptada em cada projecto desenvolvido, desde a conceptualização de temas, shopping, organização e execução de produções de moda e definição de guarda-roupa de TV. A realização do estágio proporcionou um aumento do conhecimento na área, competências a nível pessoal e profissional, absorção de novas aptidões, através de processos criativos e produtivos. O estágio representou um desafio e foi uma expe- riência altamente enriquecedora, uma vez que foi o primeiro contacto com o meio.
ABSTRACT: Due to my interest and passion for the filed of styling, together with an ambition to get work experience in the area, I was able to complete an internship at the Pulp Fashion company for the period of six months. Thus, through this research I aim to clarify and contextualise styling, exposing its practice in a business environment. This research demanded experimentation with the fields of study originating from styling, such as fashion advertising, TV wardrobe, fashion editorials, image consulting and fashion shows. The practice of styling will be carried out within the dimensions experienced during the internship, in order to expose the methodology adopted in each project: from crafting of themes, to shopping, setting up and executing fashion productions, to creating wardrobe for TV. The conclusion of this internship allowed for a broadening of knowledge to happen, as well as an expansion of competences both at a personal and professional level, including acquiring new skills through creative and productive processes. The internship was challenging and a highly enriching experience at the same time, since this was the first time working with the industry.
N/A
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Mannor, Susan. "The effect of media and the fashion industry on body image." Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/326.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Psychology
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Ward, Gustavsson Julia, and Maximilian Wollbeck. "Feminist Statements in Fashion Marketing : and Their Affect on Brand Image." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10140.
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Sweden is moving towards a society where not being a feminist is considered unmodern and conservative. People are fighting for women's rights and equality between the sexes. This feminist movement in Sweden is starting to show in more and more businesses. The fashion business has recently adapted the same movement and feminism has been used in different types of marketing, such as gender neutral merchandising or statement advertisements. The focus of this thesis is statements on products and the purpose is to investigate how Swedish consumers’ brand image of a high end fashion brand is affected by the brand using symbols of feminist statements on their products. The theoretical framework has been separated into three categories; Brand Image, Consumer Behaviour and Politics in Fashion, which sums up in a conceptual model. The model is tested in the empirical findings that were discovered through two focus groups. Consumers critical minds and high awareness of companies advertising techniques results in the conclusion that consumers demand more political effort in order to trust and accept the statement, apparently an important factor when it comes to change of brand image.
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Boultwood, Anne. "Fashioning the body : an investigation into the relationship between fashion and the body." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272148.
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This research has aimed to establish and then explore, the relationship between fashion and the body. Both involve aspects of psychological and social awareness that apparently impact on the individual's understanding of the self, and any relationship between them seems to involve this self-awareness While such a relationship has generally been accepted it has not previously been formally established and it was for this reason that the research was undertaken The research was interdisciplinary involving the application of psychological concepts and knowledge to the experience of fashion and the body. Tbus, it combined fashion theory with that of the social pychology of the body. A qualitative approach utilising in-depth interviews and clothing diaries, was adopted. This involved female participants aged from 40 to 58. Research findings were analysed using the approach of interpretive revealed relationship that is ( innovate and the functional) that seemed to correspond with two aspects of the body( the ideal and the ought), and suggested two fashion processes The innovative process of fashion appears to relate to the ideal body( the body we aspire to), and is responsible for fashion change. The functional process of fashion appears to be primarily related to the ought body( the body we think we should have),and is responsible for the maintenance of fashion trends. In both cases the relationship between fashion and body seems to be mediated by clothing at the interface between clothing and the body, The driving force of both processes seems to be the psychological experience of self-discrepancy. Research resulted in the development of a conceptual model of the relationship that accounted for the processes involved in fashion change. ii
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MOLIN, JOSEFINE, and SOFIE ANDERSSON. "Ett fast-fashion företag. Att kommunicera miljö och hållbarhet." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17392.
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I denna studie har vi har valt att undersöka och analysera ett enskilt fast fashion-företag kring ämnet miljö och hållbarhet, nämligen Gina Tricot. Valet av företag grundar sig i intresset av att undersöka hur ett förhållandevis ungt fast fashion-företag engagerar sig inom miljö och hållbarhet. Denna uppsats skrivs med mål om att ge alla intresserade en inblick i hur ett växande modeföretag tänker kring mode kopplat till miljö och hållbarhet, och om deras målgrupp verkligen lägger vikt vid dessa aspekter när de handlar kläder. Syftet med studien är att granska hur och varför ett fast fashion-företag arbetar med och kommunicerar miljö och hållbarhet, samt undersöka hur kunderna uppfattar och påverkas av företagets arbete och kommunikation. Hur viktigt är hållbarhet för företaget och hur viktigt är det för deras målgrupp och kunder? Begreppen som behandlas, för att kunna besvara syftet i uppsatsen, är CSR och hållbarhet. CSR står för Corporate Social Responsibility och begreppet hållbarhet kan definieras som ”en utveckling som tillgodoser våra behov idag utan att äventyra kommande generationers möjligheter att tillgodose sina”. Gina Tricot arbetar på flera olika sätt med miljö och hållbarhet. För att ta del av det arbete har använt oss av sekundärdata, i form av information på deras egen hemsida. Vi har också använt oss av primärdata i form av en intervju med Gina Tricots hållbarhetschef Marcus Bergman. För att besvara syftet har vi även gjort två undersökningar på Gina Tricots kunder, en webbenkät och en besöksenkät. För att kunna analysera informationen på ett bra sätt tar vi i teorin upp olika modeller, som till exempel PESTEL och Kommunikations-modellen. I analysen dras paralleller mellan vår teori och empiri. Hur arbetar och kommunicerar Gina Tricot i förhållande till de olika modellerna? Vi analyserar även kring varför Gina Tricot har valt att arbeta som de gör. Hur mycket styrs de av media? Hur kommer framtiden att se ut? Vår sammanfattade slutsats är att Gina Tricot arbetar mycket med miljö och hållbarhet även om vi inte kan sätta det i förhållande till hur mycket andra företag arbetar inom området. Vi drar slutsatsen att de arbetar inom och med området för att det är en pågående trend, för att undvika skandaler, samt för att kunderna förväntar sig det av dem. Gina Tricot har hittills valt, av flera anledningar, att inte kommunicera sitt engagemang, mer än på internet, och når därför inte kunderna i så stor utsträckning. Av undersökningen kan vi dra slutsatsen att kunderna idag förväntar sig att Gina Tricot tar ansvar, men att kunderna inte vet hur stort det är eller hur de gör det, eftersom de inte ser någon kommunikation. Vi kan också dra slutsatsen att kunderna idag efterfrågar att få veta mer kring Gina Tricots miljö- och hållbarhetsarbete. Enkäterna visar också att kunderna skulle påverkas i sitt val av butik vid en eventuell skandal kring företaget.Program: Butikschef, textil och mode
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Smith, Phillip Kerry. "Image of Apparel Retail Store by Shopping Environment, Price, and Fashion Innovativeness." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935574/.
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This study investigated college student's image of apparel retail stores associated with shopping environment, price, and fashion innovativeness and their self-perception of appearance and fashion innovativeness. These served as the dependent and independent variables, respectively. University of North Texas students residing in on-campus housing completed a self-administered questionnaire measuring each variable. Repeated measure ANOVAs determined differences in self-perceptions and store images across four stores varied by fashion (innovative/mass) and price (high/low). Results indicated that perceptions for shopping environment, price, and fashion innovativeness differed by store. Students' appearance and fashion innovativeness had no significant effect on their perceptions of apparel retail store image. Students perceive stores differently based on shopping environment, price, and fashion innovativeness.
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Yaro, Walita. "The Role of Luxury Fashion Brands : A qualitative research of how the consumption of luxury fashion brands relate to young consumers' self-concept." Thesis, Stockholms universitet, Företagsekonomiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-132964.
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The market for luxury brands has outpaced other consumption categories through its growth, and has been found in continuous development. As there is an increasing amount of luxury categories, the consumption of luxury fashion brands account for the largest proportion of luxury profits, and the marketing costs for such brands has shown to surpass those of other fashion categories. Consumer researchers have throughout decades emphasized how individuals participate in consumption behavior to form their self-concept in relation to brands. However, previous research has disregarded the multidimensional perspective regarding the theory of self-concept when examining the consumption of brands. Hence, the current research paper aims to strengthen the existing self-concept theory by exploring the role in which luxury fashion brands have by focusing on how the consumption of such brands relate, and contribute, to the consumer’s self-concept. By applying a qualitative method to investigate such purpose, and involving the existing theory of self-concept, brand image, and brand personality, it appeared that luxury fashion brands has a function to operate as a confidence booster for young consumers’ perception of their self-concept. In terms of the theoretical contribution of this paper, this research further illustrates how the theoretical explanation of brand image and brand personality relates to two different dimensions of the consumer’s self-concept. The consumption of luxury fashion brands has shown a significant role in individuals’ consumption behavior by emphasizing a striving, and motivating, part in the self-concept of young consumers.
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Coughlin, Claire Delaney. "Body Image, Self-Esteem, and Consumer Need for Uniqueness as Antecedents to Self-Identification as Fashion Opinion Leader vs. Fashion Opinion Seeker." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259776106.
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Tyreus, Maria, and Sofie Hagström. "Fashion Thinking : En studie om hur design kan berika varumärken inom modebranschen." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22258.
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Det finns mycket forskning om hur design bygger starka varumärken, men den är inte branschspecifik. Modebranschen är en komplex företagsmiljö med ständigt förändrade marknadsvillkor. Detta kräver att modeföretag arbetar med effektiva strategier för att kunna differentiera sig mot konkurrenterna, där varumärket ses som ett verktyg. Avsikten med denna uppsats är att studera tre modeföretags designprocess och hur man, med hjälp av design som verktyg, kan förmedla sin varumärkesidentitet till konsumenterna i form av en varumärkesupplevelse. Denna studie är av kvalitativ karaktär och består av tre individuella intervjuer med centrala personer från valda företag (Mayla, Minna Palmqvist och Whyred), samt individuella intervjuer och gruppintervjuer med konsumenter. Insamlad data har analyserats med hjälp av en modifierad modell av The Corporate Branding Model och The Brand Design Management Model. Med hjälp av modellen identifierades modeföretagens varumärkesidentitet och deras designprocess kartlades. Sedan studerades hur designarbetet formar varumärkesupplevelsen hos konsummeterna och skapar en varumärkesimage. Studien visade att den interna synen på varumärket och varumärkesimagen är likartad, därmed lyckas alla tre företag kommunicera sin varumärkesidentitet genom sin designprocess. Denna studie kompletterar den befintliga designforskningen, som är generell och inte branschspecifik, genom att kartlägga hur designkompetens kan nyttjas för varumärkesuppbyggnad specifikt inom modebranschen.There is much research into how design as a strategy builds strong brands, but the existing research is not specific for any industry. The fashion industry is a complex business environment with constantly changing market conditions. This requires that fashion companies working with effective strategies, where the brand is seen as a tool, differentiate themselves from the competition. The purpose of this paper is to study three fashion companies’ design processes and how they can use design as a tool to convey their brand identity to consumers as a brand experience. This study is qualitative in nature and consists of three individual interviews with key persons from selected companies (Mayla, Minna Palmqvist and Whyred), as well as individual interviews and group interviews with consumers. Collected data was analyzed using a modified model of the Corporate Branding Model and the Brand Design Management Model. By using the model, the brand identity of each fashion company was identified, and their design processes were analyzed. Then the study explored in which way the design process forms the brand experience of consumers and creates a brand image. The result is that the internal perception of the brand and the brand image are assumed to be similar, thereby each company succeeds to communicate their brand identity through their design process. This study complements the existing general and non-industry specific design research by charting how design expertise of the fashion industry can be used for brand building.
En bilaga (bilder som har använts i uppsatsens metod) har tagits bort ur dokumentet på grund av upphovsrättsliga skäl.
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van, Tilburg Mirre. "Fashion Bloggers : And their ongoing journey to increase their capital." Thesis, Stockholms universitet, Centrum för modevetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77587.
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Aagerup, Ulf. "The Impact of User Weight on Brands and Business Practices in Mass Market Fashion." Licentiate thesis, Department of Business Administration School of Business, Economics and Law University of Gothenburg, Gothenburg, Sweden, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-31482.
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Overweight people claim to be mistreated by the fashion industry. If they were, it would be in line with branding theory supporting the idea of rejecting fat consumers to improve user imagery for fashion brands. However, fashion companies do not confess to such practices. To shed some light on the subject, I have conducted two studies. The first attempts to illustrate what effect, if any, user imagery has on fashion brands. It is an experiment designed to show how the weight of users affects consumers’ perceptions of mass market fashion brands. The findings show that consumers’ impressions of mass market fashion brands are significantly affected by the weight of its users. The effect of male user imagery is ambiguous. For women’s fashion on the other hand, slender users are to be preferred. In the second study I examine what effects these effects have on assortments. I compare the sizes of mass market clothes to the body sizes of the population. No evidence of discrimination of overweight or obese consumers was found -quite the contrary. The reasons for these unexpected findings may be explained by the requirements a brand must fulfil to make management of the customer base for user imagery purposes viable. The brand must be sensitive to user imagery; a requirement that mass market fashion fulfils. However, it must also be feasible for a company to exclude customers, and while garment sizes can be restricted to achieve this, the high volume sales strategy of mass market fashion apparently cannot.
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Huang, Meiyuan, and Annie Guu. "A study of consumer perception of a Chinese luxury fashion apparel brand in Sweden." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-165.
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This thesis investigates consumer perceptions of a Chinese luxury fashion brand in Sweden. The impact of nation brand image in terms of consumer buying behaviour and perception is examined by performing a case study of Shanghai Tang, comparing it to the American luxury fashion brand Ralph Lauren through the brands’ country of origin and brand history. Then a questionnaire is developed to analyse the luxury consumers’ perception of the Chinese brand Shanghai Tang and calculate the probability of customers purchasing luxury goods by Shanghai Tang. Finally, the future of Chinese luxury in Sweden will be discussed through an in-depth interview.
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Saavedra, Daisy Barata. "Antecedentes da lealdade do consumidor na indústria fast fashion : o papel da imagem de marca." Master's thesis, Instituto Superior de Economia e Gestão, 2018. http://hdl.handle.net/10400.5/17196.
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Mestrado em MarketingNum cenário cada vez mais competitivo como o da indústria da moda, nomeadamente o segmento fast fashion, massificado por marcas, os consumidores têm vindo a tornar-se substancialmente mais exigentes. É, cada vez mais, necessário elaborar estratégias que visam a criação de perceções positivas, de forma a incrementar a imagem de marca e a sua influência na lealdade do consumidor. Assim, torna-se relevante estudar que variáveis influenciam indiretamente a lealdade através das diferentes dimensões da imagem de marca. Esta dissertação teve uma abordagem quantitativa, com base na aplicação de um inquérito por questionário a uma amostra não probabilística por conveniência de 326 inquiridos. Em conformidade com os objetivos propostos, utilizou-se o modelo de Equações Estruturais com estimação PLS (Partial Least Squares) e foi possível confirmar a importância da Responsabilidade Social Corporativa e a Perecibilidade na lealdade do consumidor através da imagem funcional da marca. Concluiu-se à posteriori que estas perceções diferem mediante o sexo do consumidor. Deste modo, salienta-se que as marcas fast fashion devem investir na Responsabilidade Social e na Perecibilidade e focarem-se particularmente na Imagem Funcional, dado que foi a dimensão que influenciou significativamente a Lealdade do consumidor, atendendo aos diferentes segmentos.
In an increasingly competitive scenario such as the fashion industry, namely the fast fashion segment, massified by brands, consumers have become substantially more demanding. It is frequently necessary to devise strategies aimed at creating positive perceptions to increase the brand image, and its influence on consumer loyalty. Thus, it becomes relevant to study which variables indirectly influence loyalty, through the different dimensions of the brand image. This dissertation had a quantitative approach, based on the application of a questionnaire survey to a non-probabilistic sample for the convenience of 326 respondents. Under the proposed objectives, we used the model of Structural Equations with PLS (Partial Least Squares) estimation, and it was possible to confirm the importance of Corporate Social Responsibility and the Perishability in the loyalty of the consumer, through the functional image of the brand. It has also been concluded that these perceptions differ according to the gender of the consumer. Therefore, it should be noted that fast fashion brands should invest in Social Responsibility and Perishability and focus on the Functional Image, since it was the dimension that significantly influenced consumer Loyalty, taking care of the different segments.
info:eu-repo/semantics/publishedVersion
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Masih, Edweana Elizabeth Shalini. "Patterns of divergence : the evolution of the qipao and cheongsam in modern Chinese society /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18643.pdf.
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Allard, Ingrid, and Lael Olsson. "A Study of how Repeat Customers can Affect Brand Image in the Fashion Industry." Thesis, Uppsala University, Department of Business Studies, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-106915.
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The fashion industry is one of the most exciting and fast-moving industries in the worldand the companies within the fashion industry are driven by the reputation of their brand.(Hines and Bruce, 2001) Some celebrities and athletes use their names as a label so that the wearer associates the clothes with the person, and therefore that brand takes on the image of the celebrity. This research is concentrated on the customers of a particular fashion company, Björn Borg. In the fashion industry, it is not only important who is wearing the brand, but also who is not wearing the brand, which leads to the aim of this paper: Can a company sacrifice its brand image if it holds on to all of its customers,including those outside of its target market? From our research, we were able to draw the following conclusions: The customers within the target group associate the brand with some of the characteristics of customers outside the target group and, thus, the image of Björn Borg is slightly different from what the company would like their image to be. Our analysis reveals that there are many who associate the brand with older people. In a way, the older customers may influence the younger ones into thinking the brand is for an older age group. Also, many associate the brand with the “average joe” and with the tennis player despite the efforts of the company to create a special brand, not average, that stands apart from the tennis player, Björn Borg. Therefore, our study indicates that a company can sacrifice brand image if it holds on to all customers including those outside their target market.
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Arnold, Rebecca. "American looks : sportswear, fashion and the image of women in New York, 1929-1947." Thesis, University College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428580.
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Ling, Lin Chiao, and 林巧玲. "The Chinese Images of 1990s High Fashion Chinoiserie." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/05098883397532971940.
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碩士輔仁大學
織品服裝學系
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This research will proceed with the following three main concepts: The first one is about the exploring of the founding origin of Chinoiserie and its relative studies, with which later on we identify the differences between traditional ethnic costume and ethnic look fashions. This study will help to find the essence of the fashion of Chinoiserie, which is offering another resource of originality for the contemporary fashion design. The second one is the analysis of the high fashion and the Chinoiserie within 1990s. The third one is about finding the common characteristics based on the Chinoiserie we formerly observed, and conclude it in stereotyped Chinese images we currently have. These images are repeatedly been adopted by the fashion designers, and through an adequate up-dated process, it is conveying the zeitgeist of 1990s. The haute couture of Chinoiserie as the high fashion in 1990s, breeding its awesomely works, was led by the historicism and romanticism. On the opposite, the high fashion ready-to-wear for more practical purposes, was trying to find the balance between the innovation in exotic aura and the simplicity in modern senses. This creative techniques of using new materials, a fashion trend of 1990s, are also put into the contemporary designs of the Chinoiserie as representing the high fashion now. The stereotyped Chinese images lie within the entire high fashion Chinoiserie. One of the factors that it lies still, may due to the traditional routes of restoring to the fore designers’ works or retaining the brands’ spirit. The quipo is perhaps the most popular selection, while it contains both western heritage and the sexy image formed in movies─a quality that is allowed to merge into the western fashion. Contemporary Chinese social costumes, including uniforms, working suits, and military uniforms, are recommended as an inspirational design of minimalism, unisexualism, and modernism. The mixing of different cultural images has been a normal phenomenon at Chinoiserie’s early formed age, and it grows even more in the high fashion between 20th and 21th century. The relative transformations of Chinese artifacts are also important resources for any designs of Chinoiserie─including genuine Chinese property and other Chinese-like artifacts. In this research, we not only observe the designing features, the creative skills, and the common stereotypes of the Chinoiserie fashion, but also take part in the combination of Chinoiserie fashion and all the other coexisting ones, which proves the circulation of fashion─evolving, into the origin.
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(6634961), Qingyu Yang. "Barcode Detection and Decoding in On-line Fashion Images." Thesis, 2019.
Find full textAbstract:
A barcode is the representation of data including
some information related to goods, offered for sale, which frequently appears
in on-line fashion images. Detecting and decoding barcode has a variety of
applications in the on-line marketplace. However, the existing method has limitation in detecting barcode
in some backgrounds such as Tassels, strips, and texture in fashion images. So, our work focuses on identifying the barcode
region and distinguishing a barcode from its patterns that are similar to it.
We accomplish this by adding a post-processing technique after morphological
operations. We also apply a Convolutional Neural Network (CNN) to solve this
typical object detection problem. A comparison of the performance between our
algorithm and a previous method will be given in our results. For decoding
part, a package including current common types of decoding scheme is used in
our work to decode the detected barcode. In addition, we add a pre-processing
transformation step to process skewed barcode images in order to improve the
probability of decoding success.
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Ming, Chang Hung, and 張弘明. "The Study of Taiwanese Fashion Magazine Advertisements and Male Images." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/01231173448574971886.
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Grebe, Candice. "Black Diamonds' social comparison and reflected appraisals of fashion magazine images." Diss., 2011. http://hdl.handle.net/2263/29664.
Full textAbstract:
From the clothing theory, it is evident that the mass media as generalised “other”, dictates the opinion of what is acceptable and not acceptable regarding fashion. The role that the mass media play in the clothing consumer’s purchases, and more specifically the decision-making process surrounding fashion products, cannot be underestimated. From a social-cultural and aesthetic point of view, it can be argued that culture or sub-culture can play an important role in the aesthetic ideal of beauty of consumers. It is suggested that consumers of different cultural backgrounds have varying beliefs about what is defined as “beautiful” in each of their cultures. Fashion magazines in South Africa largely convey a global appearance ideal, but individuals often tend to also evaluate their appearances against the cultural or sub-cultural beauty ideal in which they reside. Cultural appearance standards in the form of skin colour, hairstyles, body, style, dress, and cultural artefacts (such as accessories) may differ among different cultures and sub-cultures (Craig, 1991). Magazine marketers should thus aim to provide a specific targeted consumer group with a fashion magazine that contains content that satisfies their particular sub-cultural aesthetic needs, personal appearances and standards. People across cultures have the need to compare themselves to others, and with the focus on fashion, appearance is evaluated and compared by the targeted consumers on the basis of either cultural factors or personal factors (Lennon, Rudd, Sloan&Kim, 1999). Fashion serves as a generalised “other” against whom a person can compare him- or herself with. The targeted consumers may not engage in comparison if the appearances of fashion models used in fashion magazine advertisements are too different from the person’s own appearance and standards. It seems that the importance of the above mentioned factors in the decision-making process of consumers regarding fashion products and fashion magazines in particular, have not yet been fully realised in South Africa by magazine marketers and the advertising industry. The women in the Mzanzi Youth sub-segment, serving as the target market for this study, fall under the Black Diamonds consumer group, which is one of the most important up and coming consumer groups in South Africa. It is apparent that this consumer group has a lot of potential and could reap rewards if targeted successfully, yet there is not a fashion magazine that is known of in South Africa that specifically caters for them. Unfortunately little is known about their beauty standards and the appearance of a beauty ideal that they would prefer to compare themselves with, and fashion magazines are therefore not able to fully tap into this potential market. The Purpose of this study was therefore to explore and describe the women in the Mzansi Youth sub-segments’ social comparisons and reflected appraisals of fashion magazine images. It is envisaged that the results of this study would contribute to fashion magazine editors’ and marketers’ understanding of this market’s beauty standards and preferences for beauty ideals that can serve as a generalised “other” in social comparison, in such a way that it can contribute to a positive self-image and an interest in, and intention to buy a specific fashion magazine or the fashion products that are advertised. The theoretical approach to the study included a literature review on fashion, the consumer and the role of culture, which include a discussion on fashion magazines and fashion magazine advertisements or images. The literature also covered the role of cultural beauty ideals and aesthetics in self-esteem. In order to address the problem, a cultural perspective and the theory on identity and social identity were combined with the theory on social comparison, and serves as a theoretical perspective, or point of departure for the research, while also directing the research objectives. The unit of analysis for this study was young adult black women in South Africa (between 18 and 24 years of age), in the Mzanzi Youth sub-segment within the Black Diamond consumer group. A nonprobability sampling technique was employed. The sample for the study was purposive resulting in the use of the snowball sampling method, with 200 respondents having completed a self-administered questionnaire. The study showed that the women in the Mzansi-Youth sub-segment are directed by a strong personal identity and a need to be acknowledged as an African individual with unique personal characteristics. It is therefore also important for them that their appearance should symbolise their personal qualities and not necessarily that of a Westernised fashion style or beauty ideal, or that they belong to a specific social or sub-cultural group. The study further showed that dress, hairstyle and body shape are important features in their beauty ideal, directed by their personal identity. With regard to their aesthetic dimensions that play a role in dress and appearance, for them it is more about the sensory beauty of their appearance and emotional pleasure that their dress and appearance give them, than reflecting that they belong to a specific group or culture - indicative of a personal identity, rather than a social identity. The study further showed that with regard to social comparison, it is not important to the women in the Mzansi Youth sub-segment to compare themselves, and specifically their dress and appearance to those of others, whether it being to their friends, or an African or Westernised beauty ideal. With regard to appraisals of fashion magazine images, portraying different beauty ideals, specifically a Western, African and Euro-African beauty ideal, the study showed that the targeted consumers prefer the Euro-African beauty ideal because they like it, and it is also the appearance that they can relate to and that they would compare themselves to, although comparison is not important to them. However, if they have to compare themselves, they would compare the beauty ideal feature that is the most important to them, namely their dress style. They also mostly compare just for the sake of comparison and not to feel better about themselves or to feel that they fit into a specific group. In cases where they compare negatively to an image, whether African, Western or Euro-African beauty ideal, they will still accept the standard and will do nothing further. Lastly, the study also showed that most of the women in the Mzansi Youth sub-segment, would probably buy a fashion magazine which features Euro-African fashion images to see the latest trends and fashion ideas, but not because the model would inspire them to improve themselves. This study clearly has practical implications for fashion magazine editors and marketers in South Africa, as well as for the advertising industry, especially when incorporating fashion images in advertisements specifically aimed at the women in the Mzansi Youth sub-segment.Dissertation (MConsumer Science)--University of Pretoria, 2011.
Consumer Science
unrestricted
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(9868160), Wan-Eih Huang. "Image Processing, Image Analysis, and Data Science Applied to Problems in Printing and Semantic Understanding of Images Containing Fashion Items." Thesis, 2020.
Find full textAbstract:
This thesis aims to address problems in printing and semantic understanding of images.
The first one is developing a halftoning algorithm for multilevel output with unequal resolution printing pixels. We proposed a design method and implemented several versions of halftone screens. They all show good visual results in a real, low-cost electrophotographic printer.
The second problem is related to printing quality and self-diagnosis. Firstly, we incorporated logistic regression for classification of visible and invisible bands defects in the detection pipeline. In addition, we also proposed a new cost-function based algorithm with synthetic missing bands to estimate the repetitive interval of periodic bands for self-diagnosing the failing component. It is much more accurate than the previous method. Second, we addressed this problem with acoustic signals. Due to the scarcity of printer sounds, an acoustic signal augmentation method is needed to help a classifier perform better. The key idea is to mimic the situation that occurs when a component begins to fail.
The third problem deals with recommendation systems. We explored the similarity metrics in the loss function for a neural matrix factorization network.
The last problem is about image understanding of fashion items. We proposed a weakly supervised framework that includes mask-guided teacher network training and attention-based transfer learning to mitigate the domain gap in datasets and acquire a new dataset with rich annotations.
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(9857864), Ziyi Zhao. "THREE PROBLEMS IN DIGITAL IMAGE PROCESSING: ALIGNMENT OF DATA-BEARING HALFTONE IMAGES, SURFACE CODING, AND MATCHING CONSUMER PHOTOS OF FASHION ITEMS WITH ON-LINE IMAGES." Thesis, 2020.
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Digital image processing techniques have many significant applications in industry. In this thesis, we focus on three problems in digital image processing. These three problems involve halftone images, information encoding and decoding, image alignment, and deep learning.
Specifically, the first problem is based on data-bearing halftone images, which are an aesthetically pleasing alternative to barcodes. We address the issues generated in the camera captured image alignment process. We perform some theoretical analysis and validate it by simulation. We also provide an optimal solution to the problem.
The second problem is about the alignment technique on a 3D surface. We develop a pipeline of surfaces coding to solve the alignment issues on 3D surfaces, which includes oblique surfaces and cylindrical surfaces.
The third problem is related to image retrieval. We propose a deep learning based solution to the fashion image retrieval task. Fashion image retrieval is significant to improve the customers’ experience in online shopping. A fast, accurate shopping item information retrieval system based on the customers’ uploaded image has been built by us. A novel solution is provided, and it achieves state-of-art accuracy in shopping items’ information retrieval.