Fashion Collections Research Articles

Transformable modeling: versatile women’s collection

The present work had the objective to develop a collection of transformable feminine fashion. The starting point was the following problem: is it possible to provide versatility in women's clothing through modeling? Methodologically, the corpus of this work was constituted by conducting bibliographic and applied research with Treptow's design methodology (2013). The work presents the creative process, modeling and the photographic essay of two sought after looks. The generation of alternatives brings a collection containing five dresses and five overalls, from this collection two pieces were produced as a result of this work. The collection of women's fashion is based on a transformation: pieces that, with modeling resources, bulletin together, stand out to be used independently, with a different result from the initial proposal, or even pieces that when used overlap change the aesthetics look. The first piece is a transformable short dress that when joined with a skirt becomes a long dress, and the second piece is a long transformable jumpsuit that, with the removal of the bars, turns into a short jumpsuit. The final considerations point out that the pieces developed brought together the essential aspects of transformable modeling: versatility and adaptability.

Beyond the surface: a closer look at the stratigraphy of synthetic-coated fabrics in fashion collections and commercial samples through optical microscopy

Synthetic-coated fabrics, often made of short-life expectancy coatings, namely plasticised poly(vinyl chloride) (p‑PVC) and thermoplastic polyurethane (TPU), are challenging to preserve. These materials are poorly studied within the conservation field, and there is a lack of research and solutions for their preservation. This study aimed to provide insight into the yet unknown variability of p-PVC and TPU-coated fabrics in fashion collections. The subtle differences in layer construction and morphology were investigated in a selected set of materials to unveil production methods and better understand delamination damages, namely peeling and flaking. Optical microscopy provided primary material assessment, complemented by ATR-FTIR for molecular identification. A wide variability of synthetic-coated fabrics was reported and connections between morphology, production methods and delamination damages were suggested. Optical microscopy proved to be a powerful tool in the study of the stratigraphy of coated fabrics, enhancing material knowledge for more informed conservation decisions.

Beyond the surface: a closer look at the stratigraphy of synthetic-coated fabrics in fashion collections and commercial samples through optical microscopy

Synthetic-coated fabrics, often made of short-life expectancy coatings, namely plasticised poly(vinyl chloride) (p‑PVC) and thermoplastic polyurethane (TPU), are challenging to preserve. These materials are poorly studied within the conservation field, and there is a lack of research and solutions for their preservation. This study aimed to provide insight into the yet unknown variability of p-PVC and TPU-coated fabrics in fashion collections. The subtle differences in layer construction and morphology were investigated in a selected set of materials to unveil production methods and better understand delamination damages, namely peeling and flaking. Optical microscopy provided primary material assessment, complemented by ATR-FTIR for molecular identification. A wide variability of synthetic-coated fabrics was reported and connections between morphology, production methods and delamination damages were suggested. Optical microscopy proved to be a powerful tool in the study of the stratigraphy of coated fabrics, enhancing material knowledge for more informed conservation decisions.

Real or faux leather? Luxury or ready-to-wear mass production? Characterization of three TPU shoe coatings (ca. 1970) from the Kunstmuseum Den Haag fashion collection

During the 1970s, the shoe industry’s transition from real to faux leather raises questions about transparency regarding the materials used and the real cost of the production. Were luxury brands conscious of the quality of the products that they offered consumers, compared to other ready-to-wear market brands? Or, on the other hand, were they simply following trends in the fashion industry made possible by the introduction of leather substitutes? By studying three different shoes from the Kunstmuseum Den Haag’s fashion collection, a comparison can be drawn between the products used by well-known luxury fashion brands such as Charles Jourdan or Gucci, and those used by lesser-known brands for mass production such as Valentina. The results obtained by analytical techniques (OM, SEM-EDX, ATR-FTIR) reveal similarities between the both luxury brands and the mass-production brand as well as similar degradation elements.

Reframing Fashion in the Exhibition Lee Alexander McQueen: Mind, Mythos, Muse

The exhibition Lee Alexander McQueen: Mind, Mythos, Muse (2022) reexamined the British fashion designer’s oeuvre by contextualizing select Alexander McQueen designs within art history. Juxtaposing permanent collection works that spanned media, eras, and cultures with McQueen’s fashions, curators explored the cyclical nature of inspiration against the backdrop of appropriation in art history. As evidenced in his powerful collections, McQueen’s artistic process ranged from thoughtful research and examination to Eurocentric revisions that were both critical of and at times complicit in the legacies of colonialism. This analysis of McQueen’s artistic intent and process initially sought to uncover new frameworks for understanding the designer; however, the thematic conversations between encyclopedic objects also yielded new and unexpected insights for the museum’s non-dress and textile art collections. Investigating McQueen’s fashion collections through a broader art-historical lens enabled significant and mutually beneficial dialogues between both dress and non-dress art historians.

Crafting 21st-Century Trend-Compliant Fashion Collections for Muslim Women: Ghana in Perspective

Crafting 21st-Century Trend-Compliant Fashion Collections for Muslim Women: Ghana in Perspective

Analysis Of The Form Of Sustainable Fashion And The Quality Of Disclosure Of Economic, Social And Environmental Aspects On The Website In 2022: A Case Study Of Sukkhacitta.Com

In this era of Globalization, the world's population has increased so human needs and desires must also continue to grow. Choosing needs, cannot be separated from a person's lifestyle, where fashion has become an inseparable part of daily appearance and style. The development of the fashion industry is in line with fashion which is no longer just a necessity but also a lifestyle. This research is the result of practice-based research, where local brand SukkhaCitta strives to design sustainable fashion collections by raising the issue of clothes that can heal the earth. Through this practice, Sukkhacitta retraces the footsteps of their ancestors, where SukkhaCitta makes clothes directly manually in the village without using factories. From the application of traditional agroforestry to spices used as natural pesticides. Intercropping naturally balances the carbon cycle between the soil and the atmosphere. Another attraction that SukkhaCitta tries to highlight is the storytelling behind each product it makes. This story element is what differentiates SukkhaCitta from other fast fashion products that only follow trends.

DESIGNING CLOTHING INSPIRED BY AVERSION THERAPY TO CREATE AWARENESS

To assist people in kicking cancer-causing habits, Fashion Fights Cancer presents a cutting-edge fashion collection that is modelled by aversion treatment methods. By combining psychology and fashion, this innovative method offers a special tool to encourage healthy lives and reduce the incidence of cancer. This collection offers an innovative and captivating approach to assist people in breaking bad habits by implementing the ideas of aversion therapy, which involves linking unpleasant stimuli with negative behaviours to prevent their recurrence. Every article of clothing in this collection is designed with attention to arouse feelings or visual signals that set up subconscious unpleasant reactions associated with particular actions that cause cancer. With thoughtfully chosen textures, colours, patterns, and design aspects, these pieces serve as concrete deterrents and reminders, encouraging wearers to reevaluate their decisions and make good transitions toward healthier ones. Fashion Fights Cancer allows people to address their habits in a novel and effective way by incorporating psychological concepts into fashion design. This compilation increases awareness of the link between lifestyle decisions and cancer risk while also promoting personal development. Fashion Fights Cancer promotes proactive health behaviours and emphasizes prevention in the fight against cancer by starting conversations and questioning social conventions through fashion. People are inspired to take control of their well-being and make wise decisions that prioritize long-term health and vitality thanks to this creative marriage of fashion and psychology. In this study, the clothes in the collection are designed to make people feel uncomfortable about habits that can cause cancer. They use colours, textures, and designs to remind people of these habits, encouraging them to think about making healthier choices instead. The goal is to use creativity to help people change their habits and improve their health. Combining fashion with psychology wants to help people understand how their lifestyle choices can affect their chances of getting cancer. They hope to inspire people to take better care of themselves and prevent cancer by starting conversations and encouraging healthy behaviours. This method also shows how using creative activities, like making clothes, can support people who are dealing with cancer.

Undergraduate curators: Production of a justice-oriented fashion museum exhibition

Undergraduate curators: Production of a justice-oriented fashion museum exhibition

Ready to Wear Semi Couture Style Dragon Kamasan Puppet Design for Adult Women's Evening Party Clothing

Bali has a basic philosophy whose inspiration comes from the comos-theos-antropos aging by integrating the teachings of Balinese Hinduism-Balinese nature and Balinese people as the basic orientation in all ideas and cultural artworks, resulting in a special attraction in each of its artworks. The data collection method was carried out by observation, interviews, and documentation, as well as design design using the Corel Draw 2020 design program. The research resulted in six ready-to-wear semi-couture fashion designs for adult women's evening parties. This fashion collection is named Reminiscence which means lifting the roots of local Balinese culture, namely the Kamasan Wayang dragon. These six designs are designed using shimmer silk, Balinese woven, and tulle. Kamasan puppet designs are applied to different positions in each design. The first group design in the first design, the Kamasan puppet dragon design position was applied to the front position of the chest circling back to the front pelvis. The second design position of the Kamasan puppet dragon design on woven cloth is tucked around the waist like a Balinese dancer's fashion shawl. The third design positions the dragon head design on the front chest fit. The second group of designs in the first design positions the Kamasan puppet dragon design on the elongated woven fabric. The second design scraped the position of the elongated design. Design the third design position on the chest fit. Fashion design is the dress for all six designs. The design character of the first group is feminine sexy and the design character of the second group is feminine elegant. Dress variations are bolero, obi, and blazer.

Automatic Expansion of Metadata Standards for Historic Costume Collections

Objective: This project focuses on Artificial Intelligence (AI) supported enhancement of descriptive metadata for fashion collections (otherwise known as costume or dress and textile collections) through expanding costume-specific controlled terms. The authors use Natural Language Processing (NLP) techniques along with a human-in-the-loop process to support selection of descriptive terms for inclusion in the controlled terms of a metadata schema. This project seeks to expand upon existing domain-specific schema, Costume Core, by enhancing the schema with a comprehensive set of descriptors. This enhancement will allow for more accurate and detailed descriptions of costume artifacts. This article describes this process and the outcomes of AI approaches for providing this metadata expansion, who this process is for, ethical considerations, and lessons learned.Methods: We approached our problem with an investigation into using word embeddings to aid in supporting the suggesting of new metadata terms. Several word embedding models were applied with the more descriptive one chosen for final use in a human-in-the-loop selection process. This selection process provided domain experts to identify which terms chosen by the model are of relevant value. We then compare what was chosen by the domain experts and what the model produced to get an idea as to the value the model provides in the process of metadata expansion.Results: The metadata expansion process was a success. An AI supported process aided domain experts in choosing relevant terms to include in their metadata schema. Therefore, the results were a methodology for using identified AI models for the problem, an interactive system to aid the domain experts (software system), and how to evaluate the results.Conclusion: The application of AI technologies (word embeddings) provided a successful pipeline for supporting domain experts to expand the metadata schema with additional descriptors.  Enhancing the metadata schema with additional descriptors improves its usability for fashion collection managers and allows for a more precise description of the artifacts. As a result, many new terms that were expertly chosen were added to the metadata schema.

Gender and Culture Inclusivity in the Story of Hope Fashion Collection.

Discrimination against minority groups often still occurs and becomes a global problem. The problem of discrimination, such as minority gender and cultural minorities, is a social issue that needs to be exposed to get awareness. Inclusivity is one of the methods used to increase awareness of issues of gender and cultural discrimination. Inclusivity is one of the discourses to answer the challenges of sustainable development goals related to the topic of gender equality and reducing inequality. Fashion is a branch of design that often presents the context of inclusivity through works. The discourse of glocalization in the fashion industry also provides an opportunity to raise local content related to minority culture and gender as inspiration and communication through fashion works. The Story of Hope collection is an example of a fashion creation with the theme of gender and minority culture. The problem discussed in this paper is how gender and cultural inclusivity communicated through fashion stories of hope. The study applied qualitative methods with primary data collection techniques through observation and interviews. The secondary data obtained through literature studies. The theory used in analyzing the data uses a Barthes semiotic approach and postmodern aesthetic of bricolage. The Story of Hope collection is a fashion creation that adapts gender-fluid trends and applies traditional fabrics to represent culture in contemporary clothing. Story of Hope collection can be used as a communication tool in conveying inclusive discourse through its constituent visual elements.

Digitizing Metadata of a University Fashion Collection’s Holdings Using OCR and Costume Core

To address the lack of standardized metadata in the historic dress and costume field and increase the searchability and discoverability of online fashion collections, a university collection adopted Costume Core, a metadata schema with controlled vocabulary for fashion artifacts, to develop the digital collection and to assess and improve the usability of the schema. This paper presents a case study delving into the process, benefits, and limitations of using Costume Core to catalog fashion artifacts. It includes a discussion on converting handwritten and typewritten metadata from physical catalog cards into a digital text format using Optical Character Recognition (OCR) technology. Costume Core provided a fundamental framework for digitizing and cataloging the university fashion collection while ensuring consistency in the terminology used to describe artifacts in the collection. Nevertheless, there is room for improvement for Costume Core, particularly by expanding the schema by adding controlled terms to increase the accuracy of terms chosen to describe fashion artifacts. Therefore, work is underway to increase its usability, thus promoting its adoption among other fashion collections.

Characteristics of neo-deconstruction in Feng Chen Wang’s Chinese fashion collection

Characteristics of neo-deconstruction in Feng Chen Wang’s Chinese fashion collection

Analisis Elemen Desain Pada Metafora Arwana Merah Dalam Busana Bergaya Sexy Dramatic

Red Dragon is a fashion collection inspired by the red Arowana fish and embodied by the metaphor of the red Arowana fish in a sexy dramatic style piece of clothing. Every piece of clothing has several elements that form a single unit called design elements or design components. Design elements have an important role in a work of art, especially design elements and principles that can be seen from fashion design, detail, and material selection so that the value of beauty is formed in the clothes used. Red Dragon's fashion works are composed of design elements consisting of design elements and principles. The design elements in Red Dragon's fashion work consist of points, lines, planes, shapes, spaces, textures, and colors. In addition to design elements, Red Dragon's fashion works also have design principles that include unity, rhythm, balance, proportion, and center of interest. Design elements and principles are arranged in a fashion work systematically so as to form an order that has beauty.

A study on the design and production of sustainable accessories for children’s clothing

The present study directs research and creative development towards the potential of producing sustainable accessories for children’s clothing. Proposed fashion collection consists of ten models of hood-scarf. Designed hood-scarfs are “sustainable”, because they have two “faces” and are able to be combined with jackets, sweaters, vests or sweatshirts to obtain a variety of different outfits, without having to buy a number of different clothes. This leads to reducing fabric consumption. The models consist of relatively small details so that residual/waste pieces of fabric can be used for their sewing. The accuracy of the fit of products is inspected with the help of 3D virtual clothing software. This eliminates the need to sew a physical fabric sample which again leads to resource saving. The use of 3D visualization of models saves time and manpower and thus increases production efficiency. Another ecological effect is achieved, because by means of the virtual sample, the purchase decision will be made before the real product is sewn and the percentage of unrealized production in the commercial network is greatly reduced.

Conceptual Framework Construction and Application for Upcycling Fashion Using Plastic Waste

This study aims to develop an innovative framework and method for upcycling fashion design using plastic waste, integrating relevant concepts and design theories. Through a literature review of conceptual design and creative skills theories, collaboration with XSProject and HeySTARTIC in innovative design practices, and practical verification methods, we introduced the 'Conceptual Design for Upcycling Fashion'. This framework effectively guided the design process of creating an upcycled fashion collection comprising five bags. During the prototyping phase, we repurposed 208 medium-sized plastic bags, challenging traditional practices and transforming waste into innovative designs. The findings of this study provide fashion practitioners with a valuable resource for developing successful upcycled fashion collections by utilizing the 'Conceptual Design for Upcycling Fashion' as a guiding framework within the design process

Virtual reality as a new means of communication: A case study analysis of fashion brand, Accidental Cutting

The research analyses the challenges and opportunities that virtual reality has initiated for the communication of fashion collections since the COVID-19 pandemic began in 2020. It focuses on a case study of the work of the Accidental Cutting fashion brand, who have pioneered the presentation of virtual fashion collections at London Fashion Week since September 2020. The brand has explored new ways to promote and market their collections investigating a diverse use of virtual reality. The study also explores how this technology has subsequently become linked to different phases involved in the design and manufacture of the brand’s clothes. The methodological approach is qualitative and focuses on the auto-ethnographic reflections of the Accidental Cutting designer. These consider the challenges, technical and material difficulties, as well as opportunities in the global context of fashion, which the brand had to face when showing their virtual collections amid the restrictions imposed by COVID-19. The research also considers the future direction for the use of virtual reality in global fashion communication within a post pandemic world.

Fashion's engagement with Politics and the role of Politics in Fashion

This study aims to identify and analyse the influencing factors on the processes of diffusion between fashion and politics as well as to determine forms and methods of their interaction which now appear to emerge as a separate topic for scientific research (e.g. aestheticism within political life and political dimension of the fashion itself). On the basis of an interdisciplinary approach, politics and fashion are comprehensively analyzed as two important social regulators. This analysis uses historical sources, theoretical and methodological developments of Ukrainian and foreign scientists who studied the process of diffusion between fashion and politics. Such processes of diffusion were identified and considered accordingly within the most significant factors of influence: politics is the dictator of fashion; fashion is a symbol of a political movement; political leaders are dictators of fashion; fashion is the language and weapon of fashion designers. A comprehensive analysis showed that over the centuries in all contries of the world fashion performed the role of an identifier of the social stratification of society, was an indicator of social status, a reflection of political processes. Fashion is considered as an ideological imagery of a political movement and a symbol of the idea represented by an image. Also, functions of fashionable symbols have been revealed. It was determined that national revolutionary movements and wars influence fashion innovations, in particular, the development of patriotic clothing style (national clothing style; revolutionary fashion; military fashion). The process of diffusion is considered based on the analysis of the visual image of political leaders. It has been determined that the visual image plays an important role in the formation of the image of the state, as it is shaped within the consciousness of society and with the help of associative connection. Fashion also plays an important role in the evolution of political identities. Conceptual presentations of fashion collections have been proven to be a spectacular and an effective form of diffusion between fashion and politics. Such shows present a scenographic character of protest and manifest and are powerful and effective in influencing collective political consciousness of a society. Since the visuality is a priority in postmodern culture, one of the relevant topics for further research will be the issue of design and fashion in the field of political imagelogy of the post-war period in Ukraine, which will also encompass topics on development strategies and methods as well as influencing factors and effective tools.

Grażyna Hase: The legend of socialist-era branding in Poland

This review essay discusses the exhibition Grażyna Hase: Always in Vogue on display at the Warsaw Museum in Poland from 28 April to 11 September 2022. The curator of the exhibition was Agnieszka Dąbrowska, art historian and curator of the museum’s fashion collection. The review outlines the main focus and elements of the exhibition as well as the achievements of one of the most important fashion designers in socialist Poland (1947–90): Grażyna Hase. I discuss the designer’s ambition to create her own fashion under the auspices of a state institution from the 1950s to the 1980s. In communist Poland, fashion design and production were connected to the political system. The fashion exhibition highlights that fashion design in those days was a field of struggle and frustration on many levels: design, production and consumption. Yet, in spite of this, Hase’s designs were very successful.