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Sindhi Patchwork, Artisans and Fashion Industry
ISSN: 2641-192X DOI: 10.33552/JTSFT.2021.07.000673 Journal of Textile Science & Fashion Technology Research Article Copyright © All rights are reserved by Muhammad Hussnain Sethi Sindhi Patchwork, Artisans and Fashion Industry Lei Shen and Muhammad Hussnain Sethi* School of Design, Jiangnan University, China *Corresponding author: Muhammad Hussnain Sethi, School of Design, Jiangnan Received Date: November 16, 2020 University, Wuxi, 214122, China. Published Date: February 23, 2021 Abstract it is worth 480 billion dollars and is projected to hit 700 billion dollars in a couple of years eventually. The reason explained behind this is that everyoneFood, isapparel getting and conscious shelter are of the basicway they human look. needs. Clothing The apparelhas become industry a mean is massive of creating since itan satisfies impression the second and people basic humanwant to need. wear At the present, latest fashionable clothes to portray their personality. However, the matter of concern is that due to the human desire to wear beautiful and fashionable clothes, ‘fast fashion’ industry has come into existence, causing the destruction to the world’s resources and environment. Fashion Industry is among the top three polluters on the earth and produces almost 92 million tons of waste every year. In addition, 20 percent of the world’s freshwater pollution is due to fabric treatment and dyeing. The clothing industry needs to play an important role in sustainable development, and researchers need to introduce more new and innovative ideas regarding sustainability to help the industry. There is a debate that patchwork design can be one of those steps that can lead the fashion industry towards sustainability and slow fashion. -
By: Mikayla Wollner Table of Contents African Fashion … 3 Nails a Short Story … 4 Teenage Girl Fashion … 5 Unfortunate Fashion … 6 Letter from the Editor … 7
By: Mikayla Wollner Table of contents African Fashion … 3 Nails a short story … 4 Teenage girl fashion … 5 Unfortunate fashion … 6 Letter from the editor … 7 Strike a pose … 8 Letter to the editor … 9 Fashion from the 1890s … 10 Fashion from the 80s … 11 Yoggies Activewear … 12 African Clothing English French The idea of African clothing inspires images of L'idée de vêtements africains inspire des images rich colors and ceremonial dress but, the fact is, de couleurs riches et robe de cérémonie mais, African clothing is as diverse as the African du fait n'est, vêtements africains est aussi continent. Africa's ancient civilizations diversifiée que sur le continent africain. demonstrate the continent's long history of Anciennes civilisations de l'Afrique montrent creating clothing for utilitarian as well as longue histoire de la création de vêtements à celebratory and symbolic purposes. Despite its des fins utilitaires ainsi que de célébration et many variations, there are several unifying symboliques du continent. Malgré ses features of and facts about African clothing. nombreuses variations, il ya plusieurs caractéristiques unificatrices de faits et sur les vêtements de l'Afrique. The Time I Cut My Nails Lucy collected her fingernails since age 12. day for school and people could not believe Yep I said 12. What makes this a tad bit it. Lucy was told so many times how stranger is that Lucy is 13 years old. And if beautiful her nails were. But this was not you can figure that out she didn’t cut her really what Lucy was envisioning. -
Swagger Like Us: Black Millennials' Perceptions of 1990S Urban Brands
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 Swagger like us: Black millennials’ perceptions of 1990s urban brands Courtney Danielle Johnson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the American Material Culture Commons, and the Fashion Design Commons Recommended Citation Johnson, Courtney Danielle, "Swagger like us: Black millennials’ perceptions of 1990s urban brands" (2018). Graduate Theses and Dissertations. 16600. https://lib.dr.iastate.edu/etd/16600 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Swagger like us: Black millennials’ perceptions of 1990s urban brands by Courtney Danielle Johnson A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Apparel, Merchandising and Design Program of study committee: Eulanda A. Sanders, Co-major Professor Kelly L. Reddy-Best, Co-major Professor Tera Jordan The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Courtney Danielle Johnson, 2018. All rights reserved. ii DEDICATION This thesis is dedicated to Black folks. -
Craft Sportswear and the Finnish National Biathlon Team Launches ‘Hannunvaakuna’ Racing Suit
Dec 03, 2015 08:00 CET Craft Sportswear and the Finnish national biathlon team launches ‘hannunvaakuna’ racing suit The collaboration between Swedish sportswear brand Craft and the Finnish national biathlon team has resulted in highly functional race garments with a truly strong presence. The new competition wear will be worn by Kaisa Mäkäräinen and her colleagues on the Finnish team during the 2015/2016 season. "We looked for something that would really set the suit apart from the competition," says Craft's designer Lena Karlsson. "Soon we came up with the 'hannunvaakuna', the looped square that is a common symbol in Finland and that conveys strength and good luck. Placing the patterns in lines that follow the moving body, we have created a suit that truly radiates speed and power." The new Finland Biathlon competition garments are based on Craft's revolutionary Podium Suit, which has been equipped with biathlon-specific details such as smooth rubber patches in certain areas to ensure steady and precise shooting. Made of very thin and lightweight Italian polyester, the suit offers superior moisture transport and body-temperature management. In addition, compression fabrics in the legs keep the muscles focused while ultrasonic taped seams create a smooth surface for optimal aerodynamics. The suit is packed with innovative features including Moving Wing Technology ™, which is a wing-like construction piece at the upper back that ensures total freedom of movement and allows the skiers to transmit all their power into each pole stroke. Furthermore, three-dimensional ergonomic design provides perfect fit and optimal comfort. Craft is a Swedish brand specializing in clothing for endurance sports where performance and comfort are crucial for a good result. -
American Culture: Fashion and Sustainability
AMERICAN CULTURE: FASHION AND SUSTAINABILITY A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Kelsey Merritt May, 2018 Thesis written by Kelsey Merritt Approved by _____________________________________________________________________, Advisor _____________________________________________________________________, Co Advisor ______________________________________________, Director of Fashion Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..……………………………………………...……………………iv LIST OF TABLES………..………………………………………………………………vi ACKNOWLEDGMENT………………………………………….……………………..vii CHAPTERS I. INTRODUCTION……………………………………………….………..1 Delimintations……………………………………………………………..4 II. LITERATURE REVIEW………………………………………….………6 III. DATA COLLECTION METHODS……………………………………..12 IV. FINDINGS AND DISCOVERINGS…………………………………….42 V. RECOMMENDATIONS………………………………………………...48 REFERENCES……………………………………………………………………...…...54 APPENDIX 1. Appendix A………………………………………………………………58 2. Appendix B………………………………………………………………60 3. Appendix C………………………………………………………………63 4. Appendix D………………………………………………………………66 iii LIST OF FIGURES Figure 1: Inside Stoll knit factory………………………………………………………..15 Figure 2: Stoll’s knit factory entrance…………………………………………………...16 Figure 3: Sample garments created………………………………………………………16 Figure 4: Ka de We shoe floor…………………………………………………………...18 Figure 5: Rug maker……………………………………………………………………..20 Figure 6: Testing rug making myself…………………………………………………….20 -
Moosejaw Market Expansion Into France
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 5-17-2019 Moosejaw Market Expansion into France Rachel Renou [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Business Administration, Management, and Operations Commons, E-Commerce Commons, International Business Commons, and the Marketing Commons Repository Citation Renou, Rachel, "Moosejaw Market Expansion into France" (2019). Honors Projects. 439. https://scholarworks.bgsu.edu/honorsprojects/439 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. 1 Moosejaw Market Expansion into France Rachel Renou Honors Project Submitted to the Honors College at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS DATE Dr. Zhang Management Department; College of Business, Advisor Dr. Gremler Marketing Department; College of Business, Advisor 2 Table of Contents Executive Summary…………………………………………………………………………….....3 Introduction………………………………………………………………………………………..4 Background……………….…………………………………………………………………….....5 Country Analysis………………………………………………………………………...…….….8 Political Environment……………………………………………..………………..…..…8 Social/Cultural Environment………………………………………………………….....11 Industry/Business Analysis…………………………………………………………………..….16 Five Forces Analysis……………………………………………………………………….....….22 SWOT Analysis……………………………………………………………………………….....27 -
Considered Fashion Award Title
Katelyn Harris The University of South Wales Fashion Marketing and Retail Design Considered Fashion Award Title Supporting Statement Tech Boutique is a new concept in response to the un-sustainable and un-ethical impact that the fashion industry has had on the environment. This is a digital, innovative service, that enables customers to try clothes on virtually in-store and purchased on a made to order basis. Using sustainable and ethical suppliers within the supply chain. All suppliers are UK based and the packaging is made from sustainable materials and can also be recycled. This is to eliminate the following issues, such as mass production and the amount of waste that is produced as a result, replacing unsustainable materials, replacing fossil fuel generated energy with green energy, to eliminate the unfairness and poor treatment of workers and to reduce the amount of packaging that gets wasted and as a result pollutes the enviroment and wildlife. The suppliers within the supply chain of the service use sustainable and ethical products and green energy sources to produce their garments. This is to reduce the amount of CO2 that is produced when shipping and producing garments. In addition, the suppliers also have ethical policies in place, to ensure workers have safe and healthy working conditions. Having ordered their products in-store, the customer’s order is then produced in the UK and delivered to their home address. The delivery is packaged in recycled packaging, which can be used as a circular reuse. This is to reduce the amount of plastic used and the amount of packaging wasted. -
Sportswear Industry Data and Company Profiles Background Information for the Play Fair at the Olympics Campaign
Sportswear Industry Data and Company Profiles Background information for the Play Fair at the Olympics Campaign Clean Clothes Campaign March 1, 2004 1 Table of Contents: page Introduction 3 Overview of the Sportswear Market 6 Asics 24 Fila 38 Kappa 58 Lotto 74 Mizuno 88 New Balance 96 Puma 108 Umbro 124 Yue Yuen 139 Li & Fung 149 References 158 2 Introduction This report was produced by the Clean Clothes Campaign as background information for the Play Fair at the Olympics campaign, which starts march 4, 2004 and aims to contribute to the improvement of labour conditions in the sportswear industry. More information on this campaign and the “Play Fair at Olympics Campaign report itself can be found at www.fairolympics.org The report includes information on Puma Fila, Umbro, Asics, Mizuno, Lotto, Kappa, and New Balance. They have been labeled “B” brands because, in terms of their market share, they form a second rung of manufacturers in the sportswear industries, just below the market leaders or the so-called “A” brands: Nike, Reebok and Adidas. The report purposefully provides descriptions of cases of labour rights violations dating back to the middle of the nineties, so that campaigners and others have a full record of the performance and responses of the target companies to date. Also for the sake of completeness, data gathered and published in the Play Fair at the Olympics campaign report are copied in for each of the companies concerned, coupled with the build-in weblinks this provides an easy search of this web-based document. Obviously, no company profile is ever complete. -
Class Attire
QC DANCE CLASS ATTIRE Overview QC Dance maintains a powerful and strict code of honor and dress. Proper dance attire is mandatory for each class. Hair is to be pulled back and away from the face for all classes. For all ballet classes, dancers should have hair affixed in a secure bun for their time in the studio. Class appropriate shoes are mandatory, and dance should positively MAY NOT be worn outside the studio. Parents are asked to label all shoes and dance accessories clearly with their child’s first and last name to ensure articles are identifiable for each dancer. QC Dance does its very best to ensure a safe and secure dance environment, however we cannot assume responsibility for any articles that are misplaced or missing from among any student’s personal belongings. Shoe & Attire Requirements PRE-BALLET COMBINATION TAP/BALLET Leotard: Black, Pink, or White - (Weissman MT 12458) Leotard: Black, Pink, or White - (Weissman MT12460) Tights: Ballet Pink - (Weissman W990C) Tights: Ballet Pink - (Weissman W990C) Shoes: Full or Split Sole Ballet shoe (Weissman B-40) Ballet Shoes: Full or Split Sole - (Balera B-40) Skirt: Optional Tap Shoes: Black - (Balera B-60) Skirt: Optional BALLET I & II TAP / HIP HOP Leotard: Black, Pink, or White - (Weissman MT12456) Leotard: Any Color - (Weissman MT12460) Tights: Ballet Pink - (Weissman W990C) Leggings: Black - (Weissman CF9997 optional) Shoes: Full or Split Sole Ballet Shoe (Weissman B-40) Shoes: Canvas low-top Sneaker (ex. Weissman WL9382) Skirt: Optional (Can be purchased at any store, but may NOT -
The Evolution of Streetwear
The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study. -
GPCI Dress Standards 2017-18
Grand Prairie Collegiate Institute Dress Standards 2017-18 To enhance a dynamic learning experience that encourages critical thinking, inspires confidence and nurtures the intellectual and social development necessary for success in college, career, and life, the following dress code applies to all scholars of Grand Prairie Collegiate Institute: Mondays, Tuesdays, Wednesdays, & Fridays: Scholars are expected to wear their black bottoms, polos, and black shoes (casual-may be black tennis shoes/sneakers). Acceptable Tops: ü Solid maroon, white, or black collared pique, polo shirts (no t-shirts, no emblems other than school crest; no fitted shirts). ü Black, white, grey, or maroon undershirts only. ü Outerwear (sweaters, sweatshirts, and jackets) must have the GPCI logo/crest in order to be worn inside. *Please plan accordingly. Acceptable Bottoms: ü Appropriate fitting black or pants. Note: There are NO skinny or low rise cut pants on any vendor list. Please be mindful when purchasing to ensure your scholar has professional, modest fitting bottoms. ü Finger-tip length black or plaid (school colors) skirts. ü Finger-tip length shorts (*Classified as walking shorts; purposefully longer cut). No jeans (denim), jeggings, sweats, cargo pants, or athletic shorts. No embellishments, embroidery, tags, etc. Thursdays: All scholars will wear dress uniforms: black bottoms, embroidered oxford, professional ties/cross ties, leather belt (if applicable), and black dress shoes. Young Ladies: ü Choice of dress pants or skirt with dress button down shirt. Button down shirt must have embroidered GPCI crest. ü Cross tie or professional tie. ü Dress shoes: closed toe; modest heel (optional). ü Proper hosiery: socks in white, black, maroon (no over the knee/thigh), panty hose (professional pattern only; acceptable colors: black, white, maroon, grey). -
How Fashion Erased the Politics of Streetwear in 2017
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool.