DOCSLIB.ORG

Sumith Chandra Gopura Ranathunga Arachchilage Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sumith Chandra Gopura Ranathunga Arachchilage Thesis FASHION EDUCATION ECOSYSTEM: BRIDGING THE FASHION KNOWLEDGE GAP IN THE SRI LANKAN APPAREL INDUSTRY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) under the joint PhD programme between Queensland University of Technology, Australia and Sri Lanka Sumith C Gopura MA (UK), BDes (SL), SEDA (UK), CTHE (SL) Supervisors: Dr Alice Payne Professor Laurie Buys Queensland University of Technology Professor Deepthi Bandara Dr Leena Seneheweera University of Peradeniya, Sri Lanka 2018 Keywords Fashion industry, apparel value chain, industrial upgrading, Western brands, fashion knowledge, fashion buyer, brand designer, manufacturing designer, fashion product developer, fashion education, Sri Lanka. Fashion Education Ecosystem: Bridging the Fashion Knowledge Gap in the Sri Lankan Apparel Industry i Abstract The Sri Lankan apparel industry is seeking to develop value-added products and services for Western brands and retailers in order to upgrade the industry from apparel assembly to original design manufacturing. The apparel manufacturing firms are increasingly employing locally trained, in-house fashion designers who can support the industry in this transition. However, Sri Lankan designers face challenges in reaching Western consumer cultures and fashion markets due to cultural blocks and geographical disconnectedness. The global fashion industry has uneven power dynamics, with Western brands and retailers holding the high value cultural knowledge and understanding of the consumer’s culture and lifestyle. Nonetheless, Sri Lankan designers are finding methods of acquiring this knowledge, leading to better access to Western brands, retailers, designers and consumers throughout their careers. The purpose of this study is to identify the ways in which Sri Lankan fashion designers acquire higher value knowledge and skills that contribute to the industrial upgrading of the Sri Lankan apparel industry. The study adopts a qualitative methodology, and draws upon semi-structured interviews conducted with twenty- eight Sri Lankan fashion design and product development professionals in order to understand their education and career trajectories. The data were subjected to inductive thematic analysis to develop themes on Sri Lankan fashion designers’ education, career and industry experience. First, this study identifies the Sri Lankan ‘fashion education eco-system’, in which designer competencies are gained through the integration of formal and informal education, and proposes ways in which this ecosystem can be further enhanced in fashion education in Sri Lanka. Second, an analysis of Sri Lankan fashion designers’ career trajectories gives an overview of the multidisciplinary approach they take in integrating the key functions of fashion design, product development and manufacturing capabilities in alignment with the functional and strategic ambitions of the companies. Third, the study proposes the ‘designer self-directed learning cycle’ to describe the interactions between Sri Lankan designers and the world of fashion, contributing to the understanding of the role of manufacturing designers in the apparel value chain and assisting fashion educators to understand the ways in ii which high value cultural knowledge — termed ‘fashion knowledge’, following Weller (2007) — is essential in design practice. Thus, the ‘fashion knowledge bridge’ identifies the ways in which the Sri Lankan designer is bridging the fashion knowledge gap through interactions with Western brands, designers and buyers, increasing the reliability and relevance of products manufactured for Western consumers. The analysis of the notion of ‘experience’ through interactions with the world of fashion — termed ‘exposure’ — identifies the ‘virtual’ and ‘multisensory’ experiences obtained by Sri Lankan designers while adapting to the Western fashion system, and the gains for industry which result from this, presented in the ‘designers’ exposure framework’. The study provides a better understanding of the dynamics of Sri Lankan designers’ fashion education, their roles and responsibilities, their self-directed learning, and their exposure to the world of fashion. These findings can inform Sri Lankan fashion education in both industry and academia, and are significant in framing the industry and educational strategies necessary to develop designers in manufacturing countries that seek apparel industry upgrading through fashion design practice. Fashion Education Ecosystem: Bridging the Fashion Knowledge Gap in the Sri Lankan Apparel Industry iii Publications Articles published: Gopura, S., Payne, A., & Buys, L. (2016). Industrial upgrading in the apparel value chain and the role of designer in the transition: comparative analysis of Sri Lanka and Hong Kong. Asia Pacific Journal of Multidisciplinary Research, 4(4), 103-112. Gopura, S., Payne, A., Bandara, D. C., Buys, L., & Seneheweera, L. (2018). Fashion education in Sri Lanka: the nexus between formal and informal education. International Journal of Fashion Design, Technology and Education, 1-12. doi:10.1080/17543266.2018.1467500 In Press: Gopura, S., & Payne, A. (in Press). A spotlight on: examples of sustainable fashion in Sri Lanka. Global Perspectives on Sustainable Fashion Bloomsbury Academic. Articles submitted and currently under review: Gopura, S., Payne, A., Bandara, D., Seneheweera, L., & Buys, L. (under review). The evolution of apparel industry and fashion education in Sri Lanka: A South Asian Regional perspective. Journal of Humanities and Social Sciences. Gopura, S., Payne, A., Bandara, D., & Buys, L. (under review). Sri Lankan designers’ self- directed learning in the apparel industry. Sage Open. Gopura, S., Payne, A., Buys, L., & Bandara, D. (under review). Fashion exposure: Sri Lankan apparel industry designer interactions with the world of fashion. Journal of Fashion Marketing and Management. Gopura, S., Payne, A., & Buys, L. (under review). The Sri Lankan fashion designer: career trajectories in the apparel industry. Fashion Practice. Conference/Seminars delivered during the candidature: Gopura, S., Buys, L., & Payne, A. (November 05, 2015). The roles of craft and design in the new phase of the Sri Lankan fashion industry. Paper presented at the Interplay2015: Global Parallels: Production and Craft in Fashion, Interior and Industrial Design Industries, Queensland University of Technology. Gopura, S., Bandara, D., Seneheweera, L., Payne, A., & Buys, L. (March 31, 2017). The potential of fashion education for economic development in Sri Lanka: Investigation into fashion education and apparel industry in South Asian Region. Paper presented at the Postgraduate Institute of Humanities and Social Sciences PGIHS_RC 2017, University of Peradeniya. Gopura, S., Payne, A., Buys, L., Bandara, D., & Seneheweera, L. (February 26, 2018). Fashion exposure: Sri Lankan apparel industry designer interactions with the world of fashion. Paper presented at the Fashion seminar February 2018, Queensland University of Technology. iv Table of Contents Keywords .................................................................................................................................. i Abstract .................................................................................................................................... ii Publications ............................................................................................................................. iv Table of Contents ......................................................................................................................v List of Figures ...........................................................................................................................x List of Tables ......................................................................................................................... xii List of Abbreviations ............................................................................................................ xiii Glossary ................................................................................................................................ xiv Statement of Original Authorship ......................................................................................... xvi Acknowledgements .............................................................................................................. xvii Chapter 1: Introduction .................................................................................... 19 1.1 Globalisation and economic upgrading ........................................................................19 1.2 Apparel value chain ......................................................................................................21 1.3 Apparel manufacturing industry in Sri Lanka ..............................................................23 1.4 Fashion design professionals ........................................................................................23 1.5 Research problem .........................................................................................................24 1.6 Motivation for the study ...............................................................................................26 1.7 Aim ...............................................................................................................................27 1.8 Research question .........................................................................................................28
Load more

Recommended publications
  • Thinking Through the Growth of the Fashion Design Industry in Kenya
    AFRICA ISSN: 2524-1354 (Online), ISSN: 2519-7851 (Print) Africa Habitat Review Journal Volume 14 Issue 2 (July 2020) HABITAT http://uonjournals.uonbi.ac.ke/ojs/index.php/ahr REVIEW 14(2) (2020) Thinking Through the Growth of The Fashion Design Industry in Kenya * Lilac Osanjo Received on 1st May, 2020; Received in revised form 19th June, 2020; Accepted on 29th June, 2020. Abstract This research aimed at investigating the foundation and environment that surrounded the government directive to the public to wear African clothes every Friday. It sought to unearth information on the status of the fashion industry in Kenya. Data was collected from media reports, internet sources and available literature coupled with information from the Kenya Fashion Council, in which the author serves as a council member. The findings indicate that Kenya, does not have a strong indigenous textile production history and depends on fabric mainly from West Africa; designers used cultural, style, handcrafted finishes and natural fabrics in their fashion products; and, government, models, institutions and red carpet events are important to the industry growth. The failure of the Kenya national dress was due to several factors, including omission of the Maasai shuka. The Kenya Fashion Council is expected to mobilize resources necessary to develop a vibrant fashion industry. Keywords: Fashion designers, African fabric, Kenya national dress, Maasai shuka, Kenya Fashion Council. INTRODUCTION and European markets coupled with influx of In October 2019, the Kenya Government issued cheaper second hand clothes imports. It was seen a directive that all public officers wear African that an organized fashion industry would see garments every Friday.
    [Show full text]
  • 803 Black Markets, Foreign Clothing, Identity Construction In
    Volumen 10, Número 1 Otoño, 2018 Black Markets, Foreign Clothing, Identity Construction in Contemporary Urban Cuba Introduction Cuba is a fascinating island on which to conduct anthropological studies, as its exceptional political and economic situation has an enormous impact on Cuban people’s life. Due to the unique character of Cuba’s socialist governmental structure and policies, as well as the economic embargo imposed by the United States on Cuba, in combination with the economic hardship Cubans faced (and still face) after the collapse of the Soviet Union in the early 1990s. Many Cubans rely on remittances, gifts, and imported goods from abroad to fulfill their (basic) consumption needs. Nevertheless, a new generation of young Cubans seems to be paying more attention to obtaining consumer goods–such as fashionable clothes, shoes, and smartphones–from abroad. As black markets flourish on the island as a result of the tendencies stated above, it is worthwhile to study what kind of goods are wanted and available, how they are provided and obtained, by whom they are sold and bought, and with what objectives. Geographically, Cuba belongs to the world, but it does not economically and politically participate fully in it. In relation to globalization, I noticed while I was there that Cubans, especially young Cubans, imagine their island as participating in 803 Volumen 10, Número 1 Otoño, 2018 global economies and politics while concomitantly feeling fettered by the restrictions and limitations that the reality of their current socioeconomic organization presents. As Foucault (1967) described, “there is a certain kind of heterotopia which I would describe as that of crisis; it comprises privileged or sacred or forbidden places that are reserved for the individual who finds himself in a state of crisis with respect to the society or the environment in which he lives” (331).
    [Show full text]
  • Strategic Factors Influencing the Growth of the Local Fashion Industry in Nairobi County
    STRATEGIC FACTORS INFLUENCING THE GROWTH OF THE LOCAL FASHION INDUSTRY IN NAIROBI COUNTY BY PAULA MUMBI KARIUKI UNITED STATES INTERNATIONAL UNIVERSITY- AFRICA SUMMER 2020 STRATEGIC FACTORS INFLUENCING THE GROWTH OF THE LOCAL FASHION INDUSTRY IN NAIROBI COUNTY BY PAULA MUMBI KARIUKI A Research Project Report Submitted to the Chandaria School of Business in Partial Fulfillment of the Requirements for the Degree of Masters in Business Administration (MBA) UNITED STATES INTERNATIONAL UNIVERSITY- AFRICA SUMMER 2020 STUDENT’S DECLARATION I, the undersigned, declare that this is my original work and has not been submitted to any other college, institution, or university other than the United States International University- Africa for academic credit. Signed_____________________________ Date__________________________ Kariuki, M. Paula (ID 657302) This project has been presented for examination with my approval as the appointed supervisor Signed_____________________________ Date__________________________ Dr. Mary Mutisya. Signed_____________________________ Date__________________________ Dean, Chandaria School of Business ii COPYRIGHT All rights reserved. Compliance with copyright restrictions necessitate that no part of this project may be stored or reproduced in a retrieval system, or transmitted in any form without prior written permission of the copyright owner. However, the project may be used for brief quotations and citation in further researches and critical review of articles. © 2020 by Kariuki, M. Paula iii ABSTRACT This is a study of the fast-paced fashion industry in Nairobi County which has grown tremendously but the following strategic factors namely government policy, financial access and competition influence its growth hence the study. The general objective of this research was to assess the main strategic factors that are crucial in the growth of the Kenyan fashion industry and to find out if the said strategic factors truly influence the growth of the fashion industry in Nairobi County.
    [Show full text]
  • Fashion Meets Socialism Fashion Industry in the Soviet Union After the Second World War
    jukka gronow and sergey zhuravlev Fashion Meets Socialism Fashion industry in the Soviet Union after the Second World War Studia Fennica Historica THE FINNISH LITERATURE SOCIETY (SKS) was founded in 1831 and has, from the very beginning, engaged in publishing operations. It nowadays publishes literature in the fields of ethnology and folkloristics, linguistics, literary research and cultural history. The first volume of the Studia Fennica series appeared in 1933. Since 1992, the series has been divided into three thematic subseries: Ethnologica, Folkloristica and Linguistica. Two additional subseries were formed in 2002, Historica and Litteraria. The subseries Anthropologica was formed in 2007. In addition to its publishing activities, the Finnish Literature Society maintains research activities and infrastructures, an archive containing folklore and literary collections, a research library and promotes Finnish literature abroad. STUDIA FENNICA EDITORIAL BOARD Pasi Ihalainen, Professor, University of Jyväskylä, Finland Timo Kaartinen, Title of Docent, Lecturer, University of Helsinki, Finland Taru Nordlund, Title of Docent, Lecturer, University of Helsinki, Finland Riikka Rossi, Title of Docent, Researcher, University of Helsinki, Finland Katriina Siivonen, Substitute Professor, University of Helsinki, Finland Lotte Tarkka, Professor, University of Helsinki, Finland Tuomas M. S. Lehtonen, Secretary General, Dr. Phil., Finnish Literature Society, Finland Tero Norkola, Publishing Director, Finnish Literature Society Maija Hakala, Secretary of the Board, Finnish Literature Society, Finland Editorial Office SKS P.O. Box 259 FI-00171 Helsinki www.finlit.fi J G S Z Fashion Meets Socialism Fashion industry in the Soviet Union after the Second World War Finnish Literature Society • SKS • Helsinki Studia Fennica Historica 20 The publication has undergone a peer review.
    [Show full text]
  • Factory List George Asda Tier 1
    Factory List - Tier 1 Factory Factory Country Address Number of Male % Female % Type workers 4 YOU CLOTHING LTD AND FASHION 2000 LTD Apparel BANGLADESH 367/1 SENPARA PARBATA, MIRPUR-10 DHAKA 1000 Plus 33 67 888 COMPANY LTD (was Cong Ty TNHH 888) Apparel VIETNAM Hop Phuong Village Quang Hop Commune . 500 -1000 20 80 A&A Trousers Ltd Apparel BANGLADESH HARIBARIRTEK, PUBAIL COLLEAGE GATE DHAKA 1000 Plus 35 65 Aboni Fashions Ltd Apparel BANGLADESH Plot # 23-24, Union Tetulzhora Hemayetpur, Savar, Dhaka DHAKA 1000 Plus 46 54 Adhunik Poshak Shilpa Apparel BANGLADESH Civil Engineer tower INDUSTRIAL PLOT -1, BLOCK E, Dhaka 1000 Plus 42 58 ADURY APPARELS LTD,Adury Knit Composite & Thermax Apparel BANGLADESH KARARDI, SHIBPUR, NARSIINGDI, 0 DHAKA 1000 Plus 31 69 Yarn Dyeing Ltd Agile Sweaters (Cambodia) Ltd Apparel CAMBODIA Phum Borei kamkor SangKat Chbarmon Kampong Speu 1000 Plus 30 70 AGZ Apparel MOROCCO LOT 59 Z.I ATTASSNIA TEMARA 0 TEMARA 100 - 500 19 81 Akademi Tekstil San.ve Tic.A.s Apparel TURKEY Beylikduzu Bakircilar ve Pirinccile OSB.M.Kurtoglu Cad.No:40/Z 34524 ISTANBUL 100 - 500 71 29 Akar Textile Gida Ve Turizm San. Tic. A.S. Apparel TURKEY 10,000 SK, No 3 AOSB IZMIR 1000 Plus 44 56 AKH Eco Apparels Ltd Apparel BANGLADESH 495 BALITHA SHAH BELISHWER, DHAMRAI, 1800 DHAKA 1000 Plus 60 40 All Wintex Garment Manufacturing Corp Ltd Apparel CAMBODIA No358,Phum Ressey, Sangkat Steang Mean Chey, Khan meanchey PHNOM PENH 500 -1000 10 90 Alpine Clothings Magallegama Nikaweratiya (Pvt) Ltd Apparel SRI LANKA PUTTLAM ROAD ELAWAKA NIKAWERATIYA 100 - 500 18 82 Amaravathi SpinningMills (RJPM) Socks Knitting Div Apparel INDIA SF No : 3/227-A4, Pudhupeerkadavu V Bhavanisagar Dam INDIA Under 100 40 60 Amir Shirts Ltd Apparel BANGLADESH Supua Bazar Rd, Kalikapur Chouddagram .
    [Show full text]
  • Global Powers of Luxury Goods 2020 the New Age of Fashion and Luxury Contents
    Global Powers of Luxury Goods 2020 The new age of fashion and luxury Contents Foreword 3 Quick statistics 4 The new age of fashion and luxury 5 Top 10 highlights 17 Top 100 24 Geographic analysis 31 Product sector analysis 37 New entrants 42 Fastest 20 43 Study methodology and data sources 45 Endnotes 47 Contacts 50 Foreword Welcome to the seventh edition of Global Powers of Luxury Goods. At the time of writing, the COVID-19 pandemic has inflicted many losses: human, social and economic. What we are now experiencing is an unprecedented moment of crisis in modern history. However, it is during uncertain times that companies often come up with new ideas, converting the crisis into an opportunity, and adopting a long-term vision of future challenges. This prolonged disruptive situation is creating profound changes in consumer behavior and how companies are responding to these changes—prompting a debate about the future of the fashion and luxury industry. There is a general feeling of rethinking luxury and driving it in new directions, considering which business models will be feasible and more relevant in the new normal. Tradition and responsiveness, two elements that have always characterized luxury companies, will both be required to face great challenges in the post-COVID environment. We see the pandemic acting as a divider between the old way of doing business and the new scenario that is taking shape, characterized by changing consumer behavior. Hence, in this report, we talk about a new age for fashion and luxury and will explore the main trends that will drive the industry in the coming months.
    [Show full text]
  • Swedish Fashion 1930–1960
    !"## $%#&'()('*''+, - -. ", $* " # (/0' (/1'# " * - * # *#2&345 6 -# - * & " -7 * *% (/$'* 0" # # * # "89* "- * 4 * " " : *% * # # " # (/0' (/1'- #"* &'() 6;;* #*;"<=6#666 "(4$4&> .?/)>/()14//&0> .?/)>/()14//&4$ ! " #$ % !"-(($/0 SWEDISH FASHION 1930–1960 Ulrika Kyaga Swedish Fashion 1930–1960 Rethinking the Swedish Textile and Clothing Industry Ulrika Kyaga ©Ulrika Kyaga, Stockholm University 2017 ISBN print 978-91-7649-923-8 ISBN PDF 978-91-7649-924-5 Cover illustration: "Béves vårkollektion," Bonniers månadstidning, no 2, 1948, 38 Printed by Universitetsservice US-AB, Stockholm 2017 Distributor: Department of Media Studies, Stockholm University To my beloved husband, Simon, and our children, Isaac and Esther Editor’s introduction Ulrika Kyaga’s doctoral thesis, Swedish Fashion 1930−1960: Rethinking the Swedish Textile and Clothing Industry, is the fifth thesis published by the Centre for Fashion Studies in its Stockholm Fashion Studies series. The Centre for Fashion Studies was founded in 2006 with a generous donation from the Familjen Erling-Persson Foundation, launching fashion studies as an academic field in Scandinavia. The Centre, from the very start a research institute at the Humanities Faculty of Stockholm University, has a Ph.D. programme and an international MA programme. The MA programme was launched in 2006, and the first Ph.D. students were admitted in 2008. The sheer demand for undergraduate courses in fashion studies prompted the Centre to offer an introductory course in 2006 and 2007, which in 2008 was expanded into a one-year introductory programme with a BA dissertation module. Each year some 160 students are admitted to the undergraduate level as well as the BA and MA programmes, following a highly competitive process.
    [Show full text]
  • Africa's Top 10 Male Fashion Designers
    Fashion Special ByOdis quunt officid que( maximpost, in expel in cone )essunt quiam que modiore icienim entur, que nes et etus modi ipsandeliqui cuptatiis sit qui tem nitatiae pa doloreh enimus dolori con ne nitiunt. Ictur ape ipsapie ndebisi nveligenecab int. Sersper uptassequis dolenis etur? Africa’s Top 10 Male Fashion Designers Fashion Special ( Africa’s Top 10 Male Fashion designers ) Seidnaly Sidhamed are a faithful ambassador to African roots, but they Alphadi’s creations are also depict the best of pan-African design. underpinned by African Alphadi Alphadi was born on 1 June 1957 in Timbuktu, richness and diversity Mali, of a Touareg father from Niger and a Moroccan mother, both traders. Growing up in Niger with his eight brothers and sisters, Alphadi discovered at a very early stage the fun of putting make-up on his sisters and mother. He would also spend hours watching Bollywood films admiring the work of make-up artists and how they would enhance women’s beauty. But growing up in a Muslim country meant that fashion was an area forbidden to boys. His father wanted him to become a doctor or to take over the family business. After completing his baccalaureate, Alphadi chose to study tourism in Paris. Coming to Paris enabled him to get closer to the world of fashion. He started attending shows and taking evening classes at the Chardon Savard Workshop. At the end of his studies, he returned to Niger to work as director of the Tourism Ministry. Nevertheless, his passion for fashion did not diminish and he continued to hone his training in fashion design.
    [Show full text]
  • GERSHON GINSBURG Production Designer Art Directors Guild, IATSE 800
    Screen Talent Agency 818 206 0144 GERSHON GINSBURG Production Designer Art Directors Guild, IATSE 800 Gershon Ginsberg, an accomplished art director and production designer, is based in Atlanta and available for work worldwide. Selected credits title director / company features BOLDEN! (Art Director) Dan Pritzker / King Bolden SEX TAPES (asst AD) Jake Kasden / Columbia Pictures LAWLESS (Art Director) John Hillcoat / Annapurna Pictures – Weinstein Co. THE ROAD (Art Director) John Hillcoat / Dimension Films THE MAIDEN HEIST (Art Director) Peter Hewitt / Yari – Sony Pictures S.W.A.T. (Art Director) Clark Johnson / Columbia Pictures 8MM (Art Director) Joel Schumacher / Columbia Pictures STEEL (Art Director) Kenneth Johnson / Warner Bros. Pictrures NOW AND THEN Lesli Linka Glatter / New Line Cinema WYATT EARP (asst AD) Lawrence Kasdan / Warner Bros. Pictures HOFFA (asst AD) Danny DeVito / 20th Century Fox THE ABYSS (set designer) James Cameron / 20th Century Fox television REVISED FUNDIMENTALS OF CAREGIVING (Art Director) Rob Burnett / Worldwide Pants – Netflix SMOOCH Ron Oliver / Hallmark Channel CRIMINAL MINDS (Art Director, multiple eps) Various / Touchstone TV – CBS CASTLE (Art Director, multiple eps) Various / Beacon Pictures – ABC AMERICAN HEIRESS (series, 8 eps) Various / 20th Century Fox TV WATCH OVER ME (series, 65 eps) Various / 20th Century Fox TV WICKED WICKED GAMES (series, 17 eps) Various / 20th Century Fox TV SAINTS & SINNERS (series, multiple eps) Various / 20th Century Fox TV FASHION HOUSE (series, 50 eps) Various / 20th Century Fox TV DESIRE (series, multiple eps) Various / 20th Century Fox TV Thibault Nicholl The Screen Talent Agency 2920 W Olive Ave #201, Burbank, CA 91505 tel 818 206 0144 email [email protected] web www.screen-talent.com .
    [Show full text]
  • Dutchcu|Ture Fashion in Turkey |
    Centre for international DutchCu|ture | cooperation Fashion in Turkey Version 2019 | Written by Melissa Karadana Fashion in Turkey Version 2019 In 2011, SICA (the predecessor of DutchCulture) Acknowledgements produced a comprehensive mapping of the Turkish Written by Melissa Karadana based on 2011 cultural field. This mapping was written by local mapping by Lucy Bossher. experts and edited by Teike Asselbergs and Chantal Hamelinck. The mapping was produce as a means to Edited by Chantal Hamelinck and Teike Asselbergs. promote cultural exchange between the Netherlands Proofreading by Natasha Hay. and Turkey and as a starting point of the year 2012, which marked 400 years of Dutch – Turkish diplo- Commissioned by DutchCulture, centre for internati- matic relations. The mapping was supported and onal cooperation. produced in close co-operation with the Dutch public funds. Supported by the Ministry of Education, Culture and Science of the Netherlands. An update of these mappings was commissioned in 2018 by DutchCulture while working with the same editors. The existing mappings were revised and several new mappings were added. The updated mappings are focusing more on giving Dutch cultu- ral practitioners an insight into the Turkish cultural field and its infrastructure, and helping them get in contact with colleagues. This mapping is supported by the Ministry of Education, Culture and Science of the Netherlands. Page 2 Fashion in Turkey Contents Summary 4 Introduction 6 Short History 7 Main trends and topics 9 Popular 13 Shopping malls 14
    [Show full text]
  • Of ADH Conference Speakers
    The following are speakers who have presented research at conferences convened by The Association of Dress Historians (ADH). In alphabetical order, this index includes speakers from the first ADH conference on 5 November 2011 to the most recently held conference on 25–26 October 2019. All conference programmes are available at www.dresshistorians.org/conference. For questions regarding this index, contact [email protected]. Conference Speaker Affiliation Presentation Title Presentation Date Hind Abdul–Jabbar Independent Smuggled 12 July 2014 Scholar, in the Bustle: New York, Fashionable New York, Smuggling in Gilded United States Age New York Maria S. Adank The University Halfway between 24 May 2019 of Pisa, Private Noblewoman Pisa, Italy and Public Icon: Costume of the Dogaressa of Venice from the Sixteenth Century Claire Allen– The University Short Stories against 13 April 2018 Johnstone of Oxford, Stays and Poems for Oxford, England Pantaloons: Literary Elements of the Victorian Dress Reform Movement, 1873–1901 Jenna Allsopp The University Challenging 27 October 2017 of Brighton, Boundaries: Brighton, England The Significance of Dress to People with Neurological Conditions and/or Learning Disabilities 1 Conference Speaker Affiliation Presentation Title Presentation Date Fiona Anderson Edinburgh College “Masculine” Chic, 27 October 2017 of Art, or “Feminine” Edinburgh, Scotland Sportswear: Tweed in Interwar Women’s Fashion Eva I. Andersson The University Clothing and 5 November 2011 of Gothenburg, Perceptions of Gothenburg,
    [Show full text]
  • ASOS Is Committed to Fashion with Integrity and As Such We Have Decided to Publish Our Factory List to Demonstrate Our Pledge to Transparency
    ASOS is committed to Fashion With Integrity and as such we have decided to publish our factory list to demonstrate our pledge to transparency. This factory list will be refreshed every two months to ensure that as we go through mapping it is continually up to date. Please direct any queries to [email protected] More information can be found in our ASOS Modern Slavery statement https://www.asosplc.com/~/media/Files/A/Asos-V2/documents/modern-slavery- statement-2019-2020.pdf July 2020 Number Male Female Factory Name Address Line Country Department of Workers Workers Workers 2010 Istanbul Tekstil San Ve Dis Tic Namik Kemal Mahallesi, Adile Nasit Bulvari 151, Sokak No. 161, B Blok Kat1, Turkey Apparel 150-300 52% 48% Ltd Sti Esenyurt, Istanbul, 34520 20th Workshop of Hong Guang Floor 3, Building 16, Gold Bi Industrial, Yellow Tan Management District, Shenzhen, Yang Vacuum Technology Co., Ltd. China Accessories 0-150 72% 28% Guangdong, 518128 (Nasihai) 4 Shore Designs PO Box 178, Nanyuki, 10400 Kenya Apparel 0-150 33% 67% 888 Company Limited Quang Hop Ward, Quang Xuong Dist, Thanh Hoa Province Vietnam Apparel 500+ 23% 77% Apparel A Mundial - Manuel Lopes & Lopes 5464 Avenida de Felgueiras, Apartado 62 Regilde, Caldas de Vizela, 4815901 Portugal 150-300 49% 51% Footwear L-1515/9 Shani Bazar Road, Sangham Vihar, New Delhi, National Capital A.H Balim Enterprises India Accessories 0-150 100% 0% Region, 110062 A.S Dyeing Works Gala No.9, Tilak Nagar, Sakinaka, Mumbai, 400 078 India Apparel 0-150 100% 0% Abotis 56 Hristo Botev Street, Razlog, Blagoevgrad, 2760 Bulgaria Apparel 150-300 16% 84% Abul Dyers 1624/14, Main Road Govindpuri, Delhi, 110019 India Apparel 0-150 100% 0% 3/F, MingJinHai Complex Building, Zhoushi Road, Shiyan, Baoan District, ACE Fashion (Shenzhen) Co.
    [Show full text]