PROGRAMS of STUDY
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Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
Fashion Marketing & Merchandising: Career Investigation
Career Investigation Textile and Apparel Careers . 2 Retail Careers . .19 Promotion Careers . 35 Entrepreneurship and Other Fashion-Related Careers. 48 ©Gerber Technology LLC 2017 1 FMM CWS CI.indd 1 2/6/2018 1:01:01 PM Textile and Apparel Careers The textile and apparel segments of the soft goods chain are vital to the U.S. economy. They have a high number of fi rms, employees, and dollars invested. This segment needs fashion specialists to design, manufacture, promote, sell, and distribute the products. Producers of textile and apparel goods and industry trade associations offer a great number and variety of fashion careers. In small companies, one employee may do a combination of several of these jobs. Large companies, with many more employees, have a larger number of more specialized positions. Textile and apparel manufacturing have always been labor-intensive, but are now becoming more capital-intensive because of industry restructuring, consolidation, and use of technology. They have also traditionally employed a high percentage of unskilled labor at below U.S. average wages. The skill level and wages, however, are moving upward with automation and electronics. Textile jobs, especially marketing and sales, are located in fashion centers while other textile jobs are at the headquarters and plant sites of producers, such as in the Eastern and Southern states. Apparel jobs are also near fashion centers. To get creative textile or apparel jobs that require design or artistic abilities, prospective employees need Kzenon/Shutterstock.com an excellent portfolio of original examples. A portfolio In large textile and apparel companies employees do special- can be a case of loose, neatly mounted art or design ized jobs, such as operating a saw to cut many layers of papers showing a person’s creative work, or a portfolio fabric at a time into garment parts. -
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. -
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. -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
2017-2018 Updated Fashion Design
Fashion Design The Hoot Addendum #4 This addendum replaces the Fashion Design section (pages 231 – 238) of the 2017-18 The Hoot. Revised December 1, 2017 BACK TO CONTENTS | 231 FASHION DESIGN Innovation in fashion design results from a rigorous process of developing and editing ideas that address specific design challenges. Students in our program work alongside expert, professional faculty and guest mentors, who are current and visible designers, to become educated and practiced in all aspects of the design process. Throughout their experience, students produce original designs and develop collections for their portfolio. In their Junior and Senior year, students have the opportunity to work in teams to create unique designs under the guidance of mentors, emulating professional designers and following the industry's seasonal schedule. Recent mentors for the Junior and Senior class have included Anthropologie, Urban Outfitters, Nike, Roxy, Armani Exchange, BCBG, Trina Turk, Ruben & Isabel Toledo, and Bob Mackie. Junior and Senior designs are featured at the annual Scholarship Benefit and Fashion Show at the Beverly Hilton. FASHION DESIGN WITH AN EMPHASIS IN COSTUME DESIGN Students may choose to pursue an emphasis in Costume Design. With a focus on new directions in character development for film, television, live performance, concept art, and video, students emerge from the Costume Design Emphasis track as relevant, creative professionals prepared for the future direction of this exciting field. Under the guidance of critically-acclaimed costume design professionals and leading costume houses, students will produce original designs and dynamic illustrations, combining traditional and digital methods, for their portfolios. Costume Design mentors have included: Disney, Cirque du Soleil, Theadora Van Runkle, Betsy Heimann, Western Costume, Bill Travilla, and Bob Mackie. -
School of Fashion Program Brochure
School of Fashion academyart.edu SCHOOL OF FASHION Contents Program Overview ...................................................5 What We Teach ......................................................... 7 Faculty .....................................................................11 Degree Options ..................................................... 15 Our Facilities ........................................................... 17 Student & Alumni Testimonials ........................... 19 Partnerships ......................................................... 23 Career Paths ......................................................... 25 Additional Learning Experiences ......................... 27 Awards and Accolades ......................................... 29 Online Education ................................................... 31 Academy Life ........................................................ 33 San Francisco ....................................................... 35 Athletics ................................................................ 37 Apply Today .......................................................... 39 3 SCHOOL OF FASHION Program Overview As a student at Academy of Art’s School of Fashion, you can go after the fashion career of your dreams. Aspiring designer? Learn to turn your fashion concepts into relevant, responsible, and beautiful work. More interested in the business of fashion? Future entrepreneurs thrive in our fashion-specific business and communications programs. FIND YOUR PLACE WHAT SETS US APART Academy -
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. -
Fashion Design and Merchandising
Chapter 12 Fashion Design and Merchandising Learning Objectives After completing this section the learner will be able to: zz explain the significance of fashion design and merchandising in garment industry zz describe the fundamentals of fashion zz explain the knowledge and skills required to be in fashion business zz discuss how a student can prepare for a career in fashion industry Introduction Fashion design and merchandising are among the most exciting career options in today’s world. In a country like India, where textile industries have been thriving for ages, the recent boom in fashion designing has led to new prospects in the existing domain of garment and accessory design. The fashion industry satisfies both the creative urge and the materialistic needs of people. You hear the term Fashion merchandising many times. Did you ever think what goes into it? Let us understand merchandising from its origin. You can recall from your early history lessons that barter of products and crafts was the start of trading practices. Slowly trading moved to ‘what was available was saleable’, so there were no complications 234 in distribution system. However, the year 1920 gave birth to ‘ready-to- wear’ and soon retailers realised that sale of such garments was big business. In a very short span of time, fashion apparel became the most important type of merchandise in department stores. As a result of the economic opportunities of fashion, a new specialisation came into being – Fashion Unit IV - Fabric And Apparel And IV - Fabric Unit merchandising. Significance Fashion design and merchandising will enable you to understand how the fashion business works. -
Florence Nelson Kennedy FASHION ILLUSTRATOR
^sp-""* ' Florence Nelson Kennedy FASHION ILLUSTRATOR Pat Kennedy Crump lorence Nelson Kennedy often called herself a "stubborn Swede." Determined would have been a better description. She started to draw at an early age and loved doing it; she ac knowledged that she was an artist and deter Fmined to pursue a career in fashion illustration. At first, she may not have known that this ambition had great potential in her time. In the early decades of the twentieth century, opportunities were plentiful for commercial artists of all types, as advertising and pub lishing depended heavily on illustration, rather than photography. One means of preparing for such a career, espe cially for students who lived far from metropolitan ar eas, was instruction by mail. Universities had proven that home study was an excellent method of training, but it was a new idea in the field of commercial art. The Federal School of Commercial Designing, estab lished in Minneapolis in 1914, was adapted from a thor ough course employed by the Bureau of Engraving, a Minneapolis printing and engraving firm. Early school advertisements drew immediate responses, and the firm's success grew. The school started thousands of artists on successful careers, and Florence Nelson Ken nedy was one of them.' 'Colgate Buckbee, "How An Idea Grew Into the World's Largest Home Study Art School," The Illustrator (Minneapo lis), Winter-Spring 1964, p. 4-5; Joseph G. Almars (son of Joseph Almars, one of the Federal Schools' founders), tele phone interview with the author, Feb. 11, 1992; Minneapolis Star, Jan. 2, 1964, p. -
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. -
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.