DOCSLIB.ORG

Fashion Trends and Contemporary Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fashion Trends and Contemporary Culture Module Pro Formas FULL MODULE TITLE: FASHION TRENDS AND CONTEMPORARY CULTURE SHORT MODULE TITLE: FTCC MODULE CODE: 2FBM 404 CREDIT LEVEL: 4 CREDIT VALUE: 15 credits LENGTH: 1 semester. SCHOOL AND DEPARTMENT: Media art and design, Fashion. MODULE LEADER(S): EXTENSION: EMAIL: HOST COURSE: Fashion Buying Management STATUS: Core SUBJECT BOARD: Fashion PRE-REQUISITES: None CO-REQUISITES: None ASSESSMENT: Coursework STUDY ABROAD: None QUALIFYING MARK(S) FOR ASSESSMENT(S) 35% SPECIAL FEATURES: None ACCESS RESTRICTIONS: None SUMMARY OF MODULE CONTENT: This module will provide you with an understanding of fashion as both a cycle and a process. You will explore the fashion industry within its social, cultural and historical context to develop an understanding of where fashions and trends come from. Through an examination of what has happened in the past you will gain an understanding as to why and how fashion changes. The module will look at how the social, cultural and political climate can all contribute to future shifts in fashion direction. By developing an understanding of what factors impact change, we can start to predict what is going to happen in the future. Identifying new emerging trends is vital to the success of today’s retailers and from clothing to cars companies spend a great deal of time and money trying to get predictions right. MODULE AIMS • To explore the concepts of fashion as both a cycle and a process. • To demonstrate that fashion is an inter-play between social, historical and contemporary culture. To introduce students to the study of the evolution of modern fashion and to recognise the key period and icons who have shaped th fashion in the 20 century and beyond. University of Westminster | Handbook Version: 2014/15 (V1) June 2014 Page 1 of 125 UG Students - Levels 3, 4, 5 and 6 • To explore how the fashion industry interprets social, cultural and historical information to inform decisions in the trend forecasting and product development process. • To evaluate fashion from a new perspective, and to encourage students to think creatively about how to interpret and utilise change LEARNING OUTCOMES On completion of this module the successful student will be able to: Knowledge and Understanding 1. Identify and understand the breadth and width of cultural, social and historical influences that have shaped 20th and 21st century fashion. 2. To describe the nature of the fashion cycle and the fashion process. Specific Skills 3. Discuss the implications of current social and political trends and their possible impact on future fashion design decisions 4. Research and evaluate and communicate ideas and solutions to a defined fashion brief. Transferable skills 5. Work effectively with others as a member of a group and meet obligations to others in seminar and assessment activities. INDICATIVE SYLLABUS CONTENT Introduction to fashion theory: • Fashion as a process and the fashion cycle Fashion Pioneers and the influence of the past: • Here you will investigate the past and how it can influence the future. Who were the fashion pioneers, what influenced them and how do they influence us? The social and cultural factors influencing fashion: • Here you will look at how a broad range of social and cultural factors influence fashion at a direct or subliminal level. You will investigate the interplay between music, film, the media, celebrity and design and look at ways to use cultural research to stimulate ideas Fashion trends and forecasting • How trend forecasters collate their research and generate ideas • How trend information is applied to the fashion and retail industry Fashion as a communication system: • This will be a workshop where you will assess contemporary dress codes and consider the subjective side of analysis and the notion of dress as a complex system of communication and how to decode its meanings TEACHING AND LEARNING METHODS University of Westminster | Handbook Version: 2014/15 (V1) June 2014 Page 2 of 125 UG Students - Levels 3, 4, 5 and 6 All teaching is interactive, including lectures, seminars, workshops and field trips. Tutorials are given to support students in the assignments. Seminar activities are timetabled at the start of the term and require students to undertake preparation work. Group discussion as well as independent research is encouraged and all students are encouraged to keep a press file, which will be used within some of the seminar sessions Activity type Category Student learning and teaching hours* Lecture Scheduled 12 Seminar Scheduled 24 Tutorial Scheduled Project supervisor Scheduled 1 Demonstration Scheduled Practical Classes and workshops Scheduled Supervised time in studio/workshop Scheduled Fieldwork Scheduled External visits Scheduled 6 Work based learning Scheduled Total Scheduled 43 Placement Placement Independent study Independent 107 Total student learning and teaching hours 120 ASSESSMENT RATIONALE Students are assessed on 2 pieces of work. 1. A group presentation worth 30%. This is designed to assess student’s ability to debate, analyse and communicate trend information and collaborate on idea generation. (LO 2,3,4,5) 2. An essay worth 70%. The second assignment assesses the student’s knowledge and understanding of the fashion cycle. Students will explore the interplay of social, historical and contemporary culture. (LO 1,2,3,4) ASSESSMENT CRITERIA The Group Presentation Communication & Information Technology ●Communicate effectively in the presentation ●Use the appropriate technologies to support the presentation Problem Solving & Decision Making ●Apply given tools/methods accurately to a well-defined problem. ●Begin to appreciate the complexity of the issues. ●Apply creative solutions to both familiar and unfamiliar problems Group Work ●Work effectively with others as a member of a group. ●Meet obligations to others (e.g. tutors, peers and colleagues) Management of Information & Research Techniques ●Develop a creative approach to the task ●Collect appropriate data from a range of sources. ●Undertake simple research tasks University of Westminster | Handbook Version: 2014/15 (V1) June 2014 Page 3 of 125 UG Students - Levels 3, 4, 5 and 6 The Individual Essay Understanding and Evaluation ●Accurately define terms and context. ●Identify and evaluate given assumptions and findings Communication & Information Technology ●Communicate effectively in a written format Management of Information & Research Techniques ●Develop a creative approach to the task ●Collect appropriate data from a range of sources. ●Undertake simple research tasks with external guidance. Organisation ●Take responsibility for own learning with appropriate support. ●A good level of attendance. ●Professionalism within the learning environment and participation in activities. ASSESSMENT METHODS AND WEIGHTINGS Name of assessment Weighting % Qualifying mark/set % Group presentation 30 35 Individual Essay 70 35 SOURCES Students need to be reading current newspapers, trade journals, and fashion magazines on a regular basis. Most importantly, they should be taking advantage of access to the London shops, keeping up-to-date with Designer brands, style and innovation hotspots and High Street retailers and evaluating market trends independently Recommended reading: Kim E, Foire E & Kim H (2011) Fashion trends: Analysis and forecasting. Berg Raymond, M (2010) The Trend Forecasters Handbook. Laurence King Martin R (2001) The fashion Book. Phaidon English B, (2010) Fashion: The 50 most influential fashion designers of all time. Barons education series Lynch A (2009) Changing Fashion: A critical introduction to trend analysis and meaning. Berg Bruzzi S and Gibson P (2000) Fashion Cultures: theories, explanations and analysis. Routledge Jenkyn Jones, S. (2011) Fashion Design. Laurence king publishing Craik, J. (2009) Fashion: key concepts. Berg Davis, F. (1994) Fashion, Culture and Identity, Chicago University press Barnard M. (2002) Fashion as Communication, Routledge Jackson T., Shaw D., (2006) The Fashion Handbook, Routledge Baxter- Wright E and Clarkson K (2010) Vintage Fashion. Carlton University of Westminster | Handbook Version: 2014/15 (V1) June 2014 Page 4 of 125 UG Students - Levels 3, 4, 5 and 6 Jaeger, A (2009) Fashion makers fashion Shapers. Thames & Hudson Breward C ( 1995) The culture of fashion. Manchester University press. Drapers record WGSN.com Thebusinessoffashion.com Style.com Vogue.com DATE OF INITIAL VALIDATION: 2007 DATES OF APPROVED MODIFICATIONS: July 2011 DATE OF RE-VALIDATION/REVIEW: March 2012 FULL MODULE TITLE: LONDON FASHION SHORT MODULE TITLE: London Fashion MODULE CODE: MFMM402 CREDIT LEVEL: 4 CREDIT VALUE:15 LENGTH: 1 Semester SCHOOL AND DEPARTMENT: Media, Art and Design, Fashion MODULE LEADER(S): Nicola EXTENSION: EMAIL: Mansfield 67959 Kate Hopkin HOST COURSE: Fashion Merchandise Management STATUS: Option SUBJECT BOARD: Fashion PRE-REQUISITES: None CO-REQUISITES: None ASSESSMENT: Group presentation 40% Individual Course work 60% STUDY ABROAD: No alternative assessment required QUALIFYING MARK(S) FOR ASSESSMENT(S): 35% SPECIAL FEATURES: None ACCESS RESTRICTIONS: None University of Westminster | Handbook Version: 2014/15 (V1) June 2014 Page 5 of 125 UG Students - Levels 3, 4, 5 and 6 SUMMARY OF MODULE CONTENT: This module will cover the history of London Fashion from the swinging sixties to the present day. Looking at the iconic names associated with London Fashion from the 1960's, including Biba and Quant, through to the present day fashion hot spots of Shoreditch and the East End
Load more

Recommended publications
  • A Blitz on Bugs in the Bedding
    THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • SEPTEMBER 2011 • ISSUE 36 A blitz on bugs in the bedding Also in this issue PACR news and the new Conservation Register Showcasing intern work in Ireland A 16th century clock WILLARD CONSERVATION EQUIPMENT visit us online at www.willard.co.uk Willard Conservation manufactures and supplies a unique range of conservation tools and equipment, specifically designed for use in the conservation and preservation of works of art and historic cultural media. Our product range provides a premier equipment and technology choice at an affordable price. Visit our website at www.willard.co.uk to see our wide range of conservation equipment and tools and to find out how we may be able to help you with your specific conservation needs. Willard Conservation Limited By Appointment To Her Majesty Queen Elizabeth II Leigh Road, Terminus Industrial Estate, Chichester, West Sussex PO19 8TS Conservation Equipment Engineers Willard Conservation Ltd, T: +44 (0)1243 776928 E: [email protected] W: www.willard.co.uk Chichester 2 inside SEPTEMBER 2011 Issue 36 It is an autumn of welcomes. 2 NEWS First, welcome to the new version of the Conservation Interesting blogs and Register which went live at the end of August. Do take a look websites , research projects, at it at www.conservationregister.com and help with putting uses for a municipal sculpture right any last minute glitches by filling in the feedback survey and a new bus shelter form. 7 Welcome, too, to the latest batch of Accredited members. 4 PROFESSIONAL UPDATE Becoming accredited and then sustaining your professional Notice of Board Elections and credentials is no walk in the park, so congratulations for the next AGM, PACR updates, completing the first stage and good luck in your future role as training and library news the profession’s exemplars and ambassadors.
    [Show full text]
  • Overview of Fashion
    Chapter01 vrv Overview of Fashion 1.1 UNDERSTANDING FASHION: INTRODUCTION AND DEFINITION Fashion has become an integral part of contemporary society. It is an omnipresent aspect of our lives and is one of the focal topics of the print and electronic media, television and internet, advertisements and window displays in shops and malls, movies, music and modes of entertainment etc. Fashion is a statement that signifies societal preferences created by individual and collective identities. The key to its core strength lies in its aspiration value, which means that people aspire to be fashionable. Fashion travels across geographical boundaries, history influencing and in turn, influenced by society. Though the term 'fashion' is often used synonymously with garment, it actually has a wider connotation. A garment is not fashion merely because it is worn. To become fashion, a garment has to reflect the socio-cultural ethos of the time. As a generic term, fashion includes all products and activities related to a 'lifestyle' - clothes, accessories, products, cuisine, furniture, architecture, mode of transportation, vacations, leisure activities etc. Fig 1.1 Evening gowns by Sanjeev Sahai Creative Director of Amethysta Viola Fashion has emerged as a globally relevant area of academic study which includes various aspects of fashion design, fashion technology and fashion management. Due to the wide range of human and social aspects within its ambit, it is also a topic of scholarly study by sociologists, psychologists and anthropologists. 1 01 v r v Its multi-faceted nature leads to numerous interpretations. For an average person, fashion could generally refer to a contemporary and trendy style of dressing being currently 'in' and which is likely to become 'out' by the next season or year.
    [Show full text]
  • The Use of Trend Forecasting in the Product Development Process
    THE USE OF TREND FORECASTING IN THE PRODUCT DEVELOPMENT PROCESS C TWINE PhD 2015 THE USE OF TREND FORECASTING IN THE PRODUCT DEVELOPMENT PROCESS CHRISTINE TWINE A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Department of Apparel / Hollings Faculty the Manchester Metropolitan University 2015 Acknowledgements The completion of this research project owes a great deal of support and encouragement of my supervisory team, Dr. David Tyler, Dr. Tracy Cassidy as my adviser and the expert guidance of my Director of Studies Dr. Ji-Young Ruckman and Dr. Praburaj Venkatraman. Their experience and commitment provided inspiration and guidance throughout those times when direction was much needed. I am also indebted to all those who participated in the interviewing process which aided the data collection process and made this research possible. These included personnel from the trend forecasting agencies Promostyl, Mudpie, Trend Bible and the senior trend researchers from Stylesight, and Trendstop. The buyers and designers from the retailers Tesco, Shop Direct, Matalan, River Island, Mexx, Puma, Bench, Primark, H&M, ASOS and Boohoo. Thank you to my lovely family, David and Florence for their support and encouragement when I needed it most. i Declaration No portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or institution of learning. Copyright© 2014 All rights reserved No part of this thesis may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the author.
    [Show full text]
  • A Selection of Details from My Graduate Portfolio - Created to Display My Year Process As an ‘Exhibition’
    AMELIA WANG a selection of details from my graduate portfolio - created to display my year process as an ‘exhibition’ instagram: @ameliawang.design email: [email protected] AMELIA WANG exhibition, curation, display. I hope for my graduate collection to be viewed as an exhibition. It is a halt in time, to capture and re-tell memories that are held within clothing. I have specifically placed focus on personal family stories since the Chinese Cultural Revolution (1966-1976). The collection objectifies and presents the experiences of three generations within my family: from my Popo (paternal Chinese grandmother) to my Baba (father), and also me. I have designed garments which cross classical fashion boundaries, steering from what usual connotations of ‘fashion’ are, and instead functioning across both commercial and non-commercial contexts. The collection should be appreciated as a build-up of memories and experiences coming together with the present in both wearable and scultpural ways; to be appreciated whether it is on a living and moving body or not. AMELIA WANG Developing new dimensions for my portfolio. ROOM 4 ROOM 5 ROOM 6 textile select react and and and craft refine adjust ROOM 3 respond and develop ROOM 7 Making a 2D illustrations exhibition space that can be CENTRAL SPACE navigated by the INTRODUCTION viewer. ROOM 2 COLLECTION PLACEMENT curate, hang, MY GRANDMA AS MY MUSE display Project stages ROOM 8 technical drawings divided into rooms. ROOM 1 ROOM 9 research accessories and communicate Taking a walk through my graduate collection. exhibition map AMELIA WANG room plan to imagine my 2D work in a 3D setting.
    [Show full text]
  • 2019 Proceedings Las Vegas, Nevada
    Las Vegas, Nevada 201 9 Proceedings Art is the Flower, Life is the Green Leaf Erin French, Iowa State University, USA Keywords: Quilt, art, Mackintosh, Scotland Contextual Review and Concept Submission context. Charles Rennie Mackintosh (1868-1928) was a Scottish architect, interior designer, and artist who designed the Glasgow School of Art (GSA) building (Macaulay, 2010). The GSA as an institution of higher education and as a building made a major contribution to a unique visual movement known as the Glasgow Style, which was characterized by forms found in nature such as roses, seeds, and leaves as well as by its emphasis on linearity through vertical lines, elongated forms, and repeated squares (Euler, 2008; Wood, 2004). Nearly a century after Mackintosh’s death, his design, buildings, and artwork continue to inspire fashion designers, fabric designers, and fiber artists. Within the past 10 years, collections by Giorgio Armani, Christopher Kane, and Issey Miyake have featured garments influenced by Mackintosh and the Glasgow Style (Blank, 2010; Blank, 2015; Mower, 2018). Campbell (2008) created a kimono from digitally printed fabric that was inspired by Mackintosh’s fabric designs and the GSA building. In terms of fiber arts, Wood (2004) demonstrated how the major motifs of Mackintosh’s work could serve as inspiration for embroidery designs. I studied, lived, and worked in the Glasgow area for five years and was granted library privileges at the GSA as I studied for my master’s degree. These experiences led me to form an intellectual and emotional bond with the GSA building that moving back to the United States did not break.
    [Show full text]
  • Towards an Orchestration of Forecasting Methods to Devise Strategies for Design” – Also Comes from a Place of Personal Motivation
    TOWARDS AN ORCHESTRATION OF FORECASTING METHODS TO DEVISE STRATEGIES FOR DESIGN by Priyanka Sharma APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Dr. Maximilian Schich, Chair ___________________________________________ Dr. Kimberly Knight ___________________________________________ Dr. Matt Brown ___________________________________________ Dr. Frank Dufour Copyright 2018 Priyanka Sharma All Rights Reserved TOWARDS AN ORCHESTRATION OF FORECASTING METHODS TO DEVISE STRATEGIES FOR DESIGN by PRIYANKA SHARMA, B.Des, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN ARTS AND TECHNOLOGY THE UNIVERSITY OF TEXAS AT DALLAS August 2018 ACKNOWLEDGMENTS I am greatly appreciative of the many individuals who provided support and encouragement for my work through the process of writing this dissertation. Above all, I would like to thank my doctoral committee for their continuous guidance, critical feedback, and timely advice in the past few years. I am especially indebted to my advisor Dr. Maximilian Schich, whose invaluable insight, unique perspective, persistence for perseverance provided me with the inspiration and motivation to work towards this dissertation. I thank Dr. Dufour for being the relentless source of optimism and his faith in my efforts. His support and guidance made me hopeful of being capable of ingenuity and left me intellectually stimulated. I express my sincere gratitude toward Dr. Kim Knight for her trust in me and enabling me to continue this journey. I am indebted to Dr. Matthew Brown, who during the entire course of writing this dissertation helped me immensely with the structural aspects of this dissertation and guided me towards practical and critical milestones in my research.
    [Show full text]
  • Using Artificial Intelligence to Analyze Fashion Trends
    Using Artificial Intelligence to Analyze Fashion Trends Mengyun (David) Shi Van Dyk Lewis Cornell University, Hearst Magazines [email protected] ABstract Analyzing fashion trends is essential in the fashion industry. Current fashion forecasting firms, such as WGSN, utilize the visual information from around the world to analyze and predict fashion trends. However, analyzing fashion trends is time-consuming and extremely labor intensive, requiring individual employees' manual editing and classification. To improve the efficiency of data analysis of such image-based information and lower the cost of analyzing fashion images, this study proposes a data-driven quantitative abstracting approach using an artificial intelligence (A.I.) algorithm. Specifically, an A.I. model was trained on fashion images from a large-scale dataset under different scenarios, for example in online stores and street snapshots. This model was used to detect garments and classify clothing attributes such as textures, garment style, and details for runway photos and videos. It was found that the A.I. model can generate rich attribute descriptions of detected regions and accurately bind the garments in the images. Adoption of A.I. algorithm demonstrated promising results and the potential to classify garment types and details automatically, which can make the process of trend forecasting more cost-effective and faster. Keywords: artificial intelligence, fashion, trend analysis Note: this paper provides an introduction of how A.I. can Be adopted for fashion trend analysis. If you are working or studying in the fashion industry. this is the right paper for you to get started. However, if you are an advanced computer/research scientist, we suggest you read the fashionpedia project that we collaBorate with Google AI directly: https://fashionpedia.github.io/home/index.html 1.
    [Show full text]
  • Comfort in Clothing: Fashion Actors and Victims. in Miller, M
    CROSS, K. 2019. Comfort in clothing: fashion actors and victims. In Miller, M. (ed.). Fashion: ID; proceedings of 21st International Foundation of Fashion Technology Institute (IFFTI) 2019 conference: fashion ID (IFFTI 2019), 8-12 April 2019, Manchester, UK. Manchester: Manchester Metropolitan University [online], pages 284-297. Available from: http://fashioninstitute.mmu.ac.uk/ifftipapers/paper-168/ Comfort in clothing: fashion actors and victims. CROSS, K. 2019 This document was downloaded from https://openair.rgu.ac.uk Comfort in Clothing: Fashion Actors and Victims Karen Cross Robert Gordon University [email protected] Abstract Fashion psychology is an emerging discipline, recognising the potential of clothing to enhance well-being in an era when mental health issues are increasing in the Western world. Well-being is important to the individual and on a wider societal level, with the Office for National Statistics monitoring the well-being of UK inhabitants and the World Health Organisation stating that depression will be the most common health issue in the world by 2030. As comfort is a key aspect of well-being, this study explores meanings associated with comfort and discomfort in everyday, non-elite clothing. Comfort in clothing can by physical, physiological and psychological, and the psychological comfort gained from clothing is identified in literature as under-researched. Psychological theory was explored, revealing individuals perform multiple identities, dependent on the reaction of others and filtered by previous, lived experience. Fashion was found to be a recognized method of communicating identity in the social space and research suggests the physical response to psychological constructs or meanings associated with certain garments can be used to change or enhance mood.
    [Show full text]
  • A GLOSSARY of THEATRE TERMS © Peter D
    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
    [Show full text]
  • Charles Rennie Mackintosh (1868 –1928)
    Duncanrig Secondary School Department of Art&Design Art & Design Studies Learner’s N4/5 Outcome 1 Design Factsheet Design Studies Textiles/Pattern N4: Describe the things that have inspired and influenced designers and their work by: N4: 1.1 Describing how designers use design materials, techniques and/or technology in their work N4: 1.2 Describing the things that have influenced these designers and the work they produce N4: 1.3 Expressing facts and personal opinions about the designers’ work A study of Charles Rennie Mackintosh (1868 –1928) Tobacco Flower textile design, Watercolour design for Rose & Teardrop, Watercolour & Gouache, 1915-23 Furniture Fabric, 1915-23, Watercolour Textile Design, 1915-23 CLICK ON LINK BELOW TO VIEW RELEVANT IMAGES https://s-media-cache-ak0.pinimg.com/originals/f1/e5/70/f1e570055e84b7871a46482a091b610e.jpg https://s-media-cache-ak0.pinimg.com/originals/a9/77/25/a977252411cd1fd494da9bf6e5dae80e.jpg https://s-media-cache-ak0.pinimg.com/originals/5d/46/4a/5d464aa612facc9e943a0e7484abf2a5.jpg Images from The Hunterian Museum, Mackintosh Collection What is Textiles Design? Textile design is a creative field that fulfills a variety of purposes in our lives such as our clothing, carpets, drapes, towels, and historically wall coverings. The creations of patterned textiles are not only important for their use, but also for the role they play in the fashion industry. Textile designers have the ability to inspire collections, trends, and styles. The textile industry, while being a creative art form, is a very business savvy industry. Textile designers marry a creative vision of what a finished textile will look like with a deep understanding of the technical aspects of production and the properties of fibre, yarn, and dyes.
    [Show full text]
  • How Are the Shifting Macro Trends Influencing Within Slow
    Amanda Mannell Final Major Project How are the shifting macro trends influencing FUTURE INNOVATIONS within slow and SUSTAINABLE FASHION? Amanda Mannell ARTD3046 Final Fashion Management Project 1 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project CON TE NTS PART 2. INTRODUCTION PART 1. PART 3. PART 4. PART 5. CONCLUSION 18DOMINATING 30DETOXIFYING 38CONVERGING 46BRAND 8 10S LOW 64 FASHION MACRO THE SUPPLY MEGATRENDS PROPOSAL REVOLUTION TRENDS CHAIN 2 3 How are the shifting macro trends influencing future innovations within slow and sustainable fashion? Final Major Project New and existing brands are incessantly looking for ways to exposed themselves. This included the rise in attention innovate their business models and thrive in a competitive towards slow living, moreover, embracing wellness through environment. However, Todeschini, B. V et al explains that products and services. Trend forecasters at LS; N global “sustainable business models are still in the exploratory phase,” believe that in our post-growth society, “success is no longer (2017) are yet to fully acknowledge and experiment with hinged on GDP, but on happiness and fulfilment.” (Smith, J emerging trends. New markets, new technologies and shifting and Firth, P. 2020) Obsessing over profit and revenue in turn consumer needs are presenting significant opportunities along leads to wrong decisions. Therefore, rejecting the idea that with costly risks. Currently the fashion industry is going under the economic sustainability of slow fashion is a matter to be transformational change due to unprecedented disruption of fixated on when innovating a slow fashion brand, but instead a global pandemic.
    [Show full text]
  • A Dictionary of Men's Wear Works by Mr Baker
    LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000
    [Show full text]