Fashion Design for Living

A challenge facing the clothing and fashion industry is the need to integrate different perspectives of visionary innovation. Within current circumstances of the industry and contemporary trends, there are many examples of fashion products and ideas being inspired by, or developed from interdisciplinary and technically oriented components. Based on this direction, curricula in fashion design related departments are being revised to take into account different perspectives of innovations and new technologies related with fashion products. In addition, the interaction between university and industry is an important parameter for the dissemination of the innovation concept from different perspectives, a process in which higher education institutes play a critical role.Within this context, a case project was conducted in the Department of Fashion and Textile Design in a university in Turkey. The aim of the project was to promote a new approach to combining material knowhow with the creative process, and thus draw attention to the intersection of fashion design, technology and innovation. Other investigation issues in this study were the necessity of taking an interdisciplinary approach (and research) for innovation and the contribution of university-industry collaborations.A group of students from different design disciplines were given topics related with technically enhanced fabrics, such as high-visible fabrics, thermal range fabrics, industrial launderable fabrics, flame retardant fabrics and microencapsulated fabrics. Creating a design concept embracing these technical areas was seen as presenting a suitable level of challenge for students. A knitwear production company provided the fabrics for use in student products. At the end of the project, student projects were assessed by university instructors and company representatives. Student comments were also evaluated through survey analyses. Therefore, evaluation of projects was based on three main pillars: the instructors, the company and the students themselves. As a result, it was seen that this project was a new approach for students, and helped them to work with different restrictions in design to find innovative solutions. Students were able to improve their understanding of the effects of technology in fashion design issues, and to extend the boundaries of their creativity by working in an interdisciplinary manner.Such a university-industry project with students from different disciplines could be suggested as representing an important challenge, with the potential for promoting the development of fashion industry and academic growth, especially in countries like Turkey, where industry faces an extremely-competitive environment.Keywords: Innovation, Fashion design education, Interdisciplinary, Creativity, Turkey, University-industry collaboration

The global fashion industry produces a huge variety of creative goods to market. The fashion industry profits by developing creative content as in the music, film, video game, and book industries. However, unlike those industries, the fashion industry’s principal creative production lies outside the domain of intellectual property law. Fashion has not been historically protected by copyright law due to differences in the legal treatment of the fine arts, like literature, music, and art, which are accorded copyright protection, and crafts, which are generally not accorded such protection. Although fashion is meant to be functional (i.e., it must fit the human body and keep it warm and dry), it is also artistic and creative. Most would agree that fashion is rarely a fine art because it also fulfills a utilitarian function, but this should not necessarily preclude designers from being able to protect their investment in truly innovative designs, as artists and musicians are able to do. The law has traditionally treated each field of IP as an instance of discrete and mutually exclusive protection. Patents protect innovation in terms of functional design, while copyrights protect artistic expression. Finally, trademarks protect goodwill and reputation. These firm divisions between patentable and copyrightable subject matter have left the creative designers of utilitarian objects such as clothing without protection. The growth of the fashion industry has spawned an increased public awareness about fashionable designer products. In light of the popularity of certain designers or specific designs, design piracy has increased exponentially. Design piracy is the copying of a designer’s original designs, thereby enjoying the benefit of his/her artistic work at no expense. Copyists can thus free ride on the efforts of designers, thereby discouraging future investments in creative fashion design. Design piracy is not new; however, while it once took several years for a fashion to descend the price line into low-priced production, this progression is now nearly immediate. Technological advances have made it possible for design pirates to obtain another creator’s designs and manufacture duplicates overnight. Because of the pervasiveness of design piracy, the practice of copying is now considered commonplace in the fashion industry. Accordingly, the original designers of iconic fashion pieces stand to lose substantial amounts of revenue after expending the capital necessary to create them. This study compares Korea and the United States to understand the implications of Korea’s fashion design protections. This paper describes the research on fashion design protection practices in both countries, analyzes the present situation state of fashion design protection in these countries, and compares their legal principles related to fashion design protection. To this end, a literature review is presented that draws on relevant studies and national statistical data on both countries. First, the research on Korea and U.S. fashion design piracy can be summarized as follows. For fashion design in Korea, previous studies focus on the current status of counterfeit fashion goods, intellectual property protection in the fashion market and the protection of applied arts including fashion design. However, these studies have some limitations; many lack specific, concrete discussion on the current status of intellectual property and protection methods, instead providing general, comprehensive discussions. In contrast, studies in the U.S. context focus on the present situation of counterfeit goods in the fashion market, the nature of the fashion market, the essential features of design piracy and the legal protection of fashion design under the Design Piracy Prohibition Act. The breadth of studies on U.S. design piracy studies is much wider compared to those on Korea. In particular, as bills regarding the protection of design under copyright law such as DPPA or IDPPA are submitted to Congress, studies on the protection of design under legal laws are actively conducted. Fashion design protection in Korea versus the United States and the relevant legal principles can be summarized as follows. There are similarities and differences in the protection of fashion design across both countries. First, both countries are similar in terms of fashion design protection under patent law. Both countries provide some protection for fashion design under copyright law. Fashion design still lacks the criteria that have been established for literary works, but criteria are being developed to facilitate the protection of fashion design under copyright law. The most significant difference between the two countries regarding the protection of fashion design lies in the political efforts undertaken to protect fashion design. Unlike Korea, the United States has continued to enforce a separate law for the practical protection of fashion design to address two problems: first, the screening process generally takes a long time, which hinders the protection of fashion, and second, it is difficult to protect the middle area of design rights.

This chapter is an introduction to the subject ergonomics and its relevance to fashion, lifestyle, and accessory design. A snapshot of different ergonomic principles relevant to the fashion designers is discussed. This chapter introduces the readers to the concept of ergonomics in systems and its application in the domain of fashion design. This chapter introduces the readers to the systems perspective of ergonomics and its relevance to fashion design. The different subsystems in the domain of fashion design are explained along with the connections between them. The sharp and the blunt end of the system in fashion and its pertinence in a better design is explained. Ergonomics is a systems concept wherein there are at least three components. The three components are user, product (fashion products), and the environment or the context in which the product is used. It is like a pyramid having a sharp end: apex of the pyramid and the blunt end: the base of the pyramid. At the sharp end the users buy and use the product. At the blunt end are the designers who design the products. Thus, it is necessary for designers to come to the sharp end of the system, put themselves in the feet of the users to get an insight into different ergonomic issues in design of the product.

Fashion has become an important carrier of aesthetics in the eyes of modern people and fashion design has also become an important factor affecting the development of the fashion industry. With the increasing problems of intellectual property infringement of fashion design, it has correspondingly become an important topic as how to protect the Intellectual Property rights of fashion design. There are generally four paths of Intellectual Property protection for fashion designs: Copyright, Design Patent Right, Trademark Right and Anti-Unfair Competition Law Protection. The path of protecting copyright of fashion designs is the most comprehensive, but it has higher requirements for originality and aesthetics of fashion designs. The condition for protection by Design Patents is that the aesthetic nature of the fashion design shall be distinguished from the fashion functionality. The condition for protection under Trademark Law is that the achievement of distinctiveness in fashion design. The conditions for protection under the law against Unfair Competition are that the fashion product causes certain impact and that the fashion design leads to confusion; Each of the four protection paths has its own strengths and weaknesses. The fashion design in China is still in a mature stage of development, and a comprehensive protection path shall be adopted, which is characterized by the copyright protection as the main focus with the Design Patent Rights, Trademark Rights and Anti-Unfair Competition Law protection as complementary.KeywordsFashion designIntellectual Property protectionTrade dressDesign Patent

Creatively harnessing the zeitgeist, or spirit of the times, and translating its influence into unique, timely, and marketable merchandise has been the key to survival of fashion-focused companies since the dawn of the twentieth century. We combined a cognitive perspective on creativity with cultural materialism to develop probing questions for a grounded theory study of the question: How does the creative process for design and development function in the global fashion industry of the twenty-first century? A typology for creativity in fashion design and development emerged from data gathered in a series of in-depth interviews in an international context. We defined Leadership Creativity and Adaptive Creativity at extreme ends of a continuum. Leadership Creativity overrules current archetypes and shifts the sector in a new direction while Adaptive Creativity integrates existing paradigms into a direction the sector is already trending. This typology outlines eight descriptive attributes relating to the environment in which fashion design and development functions, and designates distinct components of those attributes that categorize the creative type. The majority of work in fashion design and development today reflects Adaptive Creativity. Specifically naming and describing these attributes and the interplay between Leadership Creativity and Adaptive Creativity, the typology lends structure to otherwise ambiguous parameters related to creativity in fashion design and development.

J.J. Pizzuto's Fabric Science Swatch Kit, 11th Edition reinforces the study of textiles for students in fashion design, merchandising, interior design, product development and home furnishings. The kit contains 114 (2"x 3") fabric samples, a fabric key, 40 special assignments, heavy-weight sample sheets to mount and analyze fabrics, and a pick glass - all contained in a three-ring binder. The swatches are organized in the order in which they are covered in the text: fibers, yarns, weaves, knits, dyeing, printing and finishes. Swatches represent the types of fabrics currently available to fashion and interior designers in the field, making this resource an excellent addition to any professional library.

Background and Aim: Fashion design is a highly creative, interdisciplinary field that covers many aspects such as clothing, accessories, and textiles. Through creative design, material selection, process technology, etc., provide people with unique, beautiful, and practical fashion products and services. There has been a significant surge in research activity in the field of fashion design over the past decade, and by reviewing the data it was found that there is an academic gap in the bibliometrics of Fashion Design. The purpose of this study is 1) To study the research overview of Fashion Design. 2) To analyze the research frontiers of Fashion Design. 3) To analyze the evolution Path of Research Frontiers of Fashion Design. Materials and Methods: The key steps in retrieval: (1) Select database; (2) Enter "Topic"; (3) Select Document Type; (4) Select Document Language; (5) Enter Document Release Time Scope. Enter Topic="Fashion Design". Document types are article, proceeding paper, and English review from 2014-01-01 to 2022-12-31 for recent research. Book Citation Index-Science and Book Citation Index-Social Science & Humanities were excluded, leaving 1,049 documents. Common scientometric software includes CiteSpace, HistCite, Loet Tools, SciMAT, and VOSviewer. This study uses VOSviewer (version 1.6.19) for visualizing and analyzing scientific literature, helping researchers identify patterns, trends, and relationships in data. Results: The result of this research is that there are many prolific authors, Countries, and Publishers in this research field. There are three research fronts: "Impact", "Consumption" and "Industry". The evolution path of the research fronts starts from "Clothing Design" in 2014-2018. and "Arts", to "Innovation" in 2018-2019, to "Creativity" in 2019-2020, then to "Technology" and "Sustainability" in 2020-2021. Conclusion: The quality of articles in the "Fashion Design" research field is generally higher, with more research and very active. Research Frontiers: There are three research fronts: "Impact", "Consumption" and "Industry" The fashion design field’s focus on influence, consumption, and industry reflects its increasing emphasis on business and social impact. Evolution Path of Research Frontiers: The evolutionary path of the research frontier ranges from “Costume Design” and “art” in 2014-2018, to “Innovation” in 2018-2019, to “Creativity” in 2019-2020, and then to “technology” in 2020-2021 and “Sustainable development”. After 2021, it will be "Impact ", "Consumption" and "Industry". The evolution path of the research frontier reflects the shift in the development direction of the field of fashion design from single design and art to more design and art: diversification and comprehensiveness. From focusing on innovative ideas to technology and sustainable development to market, consumer, and industry development, it reveals the changes and evolution in the field of fashion design in the pursuit of excellence, sustainable development, and social impact.

The purpose of this study is to observe the similarities and differences between contemporary Chinese and Korean fashion designers in understanding the concept of national identity. To achieve this objective, the literature review and in-depth interview were conducted. The results are as follows: Firstly, the model that interprets the influence factors of designers’ awareness of national identity was built. Under the social background of national identity, including governmental role, features of culture, openness of social system and the international and economic status, features of fashion and fashion designers influence on national identity expressed in designers’ fashion works. Secondly, three main similarities between fashion designers’ awareness have been found. The first is that both Chinese and Korean fashion designers emphasize broader regional concept about national identity; the second is that influence of national identity is subtle and not obvious; the third is that fashion designers have mixed consciousness of self-identity and national identity. Thirdly, there are three main differences between Chinese and Korean fashion designers’ awareness. The first is that the adoption of ethnic national identity in fashion design is more related to the traditional ethnic elements in Chinese while modern elements were favored more by Korean. The second is that Chinese designers as a whole showed a deeper comprehension of traditional ethnic culture or philosophy than Korean designers do. The third is that more solid and positive attitude toward the government caused Chinese designers to have a more intensive civic national identity.

The article aims to generate considerations regarding the teaching of sustainability in higher education Fashion Design courses in Brazil. The issue of sustainability in fashion has been frequently debated; however, the textile and clothing industry remains one of the most environmentally harmful. From this perspective, sustainability needs to be considered in all stages of designing new clothing pieces. If sustainability is crucial for design actions in the field of fashion, how are the contents related to this element being taught in higher education courses in Brazil? This is documentary research conducted through the pedagogical programs of twelve higher education courses in Fashion Design at Federal Institutes, analyzed through a quantitative-qualitative approach. Regarding the main results, nine of the courses offer specific disciplines on sustainability. Furthermore, this content is addressed in another 22 disciplines ranging from fashion research to production technologies. Although sustainability continues to be a dilemma, there is a significant emphasis on curriculum components in the training of Fashion Designers in Brazil.

Children, Youth and Environments 18(2), 2008 The Peace Mural: A PARTicipatory Project between Children from Chios, Greece and Izmir, Turkey Deniz Hasirci Izmir University of Economics Izmir, Turkey Citation: Hasirci, Deniz (2008). “The Peace Mural: A PARTicipatory Project between Children from Chios, Greece and Izmir, Turkey.” Children, Youth and Environments 18(2): 236-249. Keywords: youth, children, participation, mentorship, partnership, creativity, Turkey, Greece Introduction This study is about a collaborative project between three partners: Izmir University of Economics (IEU); the Turkish-German Foundation for Culture and Education (TAKEV), which is an elementary school; and Kids’ Guernica, an international initiative for peace. Izmir University of Economics established a buddy program with TAKEV Elementary School that paired university and elementary school students to work on specific projects. In the 2007-2008 academic year, we interviewed students and instructors to study the effects of the program on their creativity, self-confidence, responsibility, and opinions about the curricula. The University decided to implement the buddy program in the Faculty of Fine Arts and Design at IEU because visible results could be obtained in a short time, and because of the growing interest in these fields among middle-school children in Turkey. The five departments in the fine arts department are: Fashion Design, Interior Architecture, Architecture, Industrial Design, and Communication Design. The program began with Fashion Design, and moved on to Interior Architecture and Environmental Design, through which the partnership with Kids’ Guernica was developed. It is this latter development, when the buddy program partnered with the Kids’ Guernica project, which is the main subject of this photo essay.© 2008 Children, Youth and Environments The Peace Mural: A PARTicipatory Project between Children... 237 Fashion Design Buddy Program The IEU buddy program with TAKEV Elementary School began with the Fashion Design Department. In the program, younger and older students worked together on models. The project gave the younger students a sense of university life, while the university students gained a sense of responsibility by aiding the younger students. The buddy program received wide publicity in the local and national Turkish newspapers. Figures 1-3. The first buddy group: workshop with the fashion design department The Peace Mural: A PARTicipatory Project between Children... 238 The coordinators searched for other participatory projects in art or design in order to extend the buddy program. Around the same time, Kids’ Guernica contacted the program to do a joint project. Peace Mural by Children from Chios and Izmir Kids Guernica is a project of peace for children. Its aim is to create peace paintings in various parts of the world in a participatory way. The canvases are the same size as Pablo Picasso's 1937 Guernica (3.5 m × 7.8 m), in which the painter showed the brutality of the Spanish civil war during the bombing of the city of Guernica. Through the IEU buddy program,1 in May 2007 we made arrangements to bring together children from Chios, Greece and Izmir, Turkey to paint a peace mural under the auspices of Kids’ Guernica.2 The painting was started in Chios and travelled to Izmir in September 2007 with a group of Greek children and supervisors where they continued work on it together. The initial painting took a whole new direction with the cooperation of the children from different backgrounds. In Izmir, the participants took part in a three-day workshop to discuss the topics of “peace,” the idea of countries being geographically and culturally very close but The Peace Mural: A PARTicipatory Project between Children... 239 politically distant, and Picasso’s work. The workshop also helped the participants form a cooperative atmosphere from which to complete the painting. After the workshop, the painting was exhibited in the Zappion–Megaron in Athens in conjunction with the symposium entitled “Productivity of Culture” on October 18 and 19, 2007. The symposium was organized by the Network of European Cultural Capital Cities. Second- and third-year Interior Architecture and Environmental Design students from the IUE, seventh- and eighth-grade students from the TAKEV School, and eight children from Chios worked together on the painting of peace. The photos below depict the process of creating the children’s peace mural. Figures 6-7...

This volume contains selected papers from the 20th AUTEX World Textile Conference (AUTEX 2021, September 5-9, 2021, Portugal, online). Collected articles present to readers' attention a series of research on actual issues of development of the textile industry and the modern status of fashion design. Particular attention is also devoted to some issues of organisation of textile industry engineers' and fashion designers' education. The presented collection will be helpful for specialists whose activities are related to the textile industry and fashion design.

Fashion design as a combined term conveys a different connotation than separate words of fashion and design. This is due to the complexity of the fashion system that also involves certain social prejudices, such as gendered practice and being shallow. This has set a gap for considering fashion design as a serious topic to study in comparison to other design subfields such as architecture and industrial design. However, this article argues that by emphasizing the dressmaking aspect in designing fashion, prejudices can be overcome. Finland, especially its capital Helsinki, is an established place for design and an emerging place for fashion. The recent development of the place where the encounter of design and fashion took place provides a unique condition for exploring the contemporary dressmaking practice of Helsinki-based fashion designers. A number of aspects identified from the context are shared to demonstrate how fashion design can be revisited besides the image-making aspect.

Discover the life and work of one of the most innovative designers of 20th-century British fashion, Bill Gibb, in this richly illustrated reappraisal of his work. Scottish-born Bill Gibb (1943–1988) was a fashion pioneer whose fantastical designs encapsulate the vibrancy of the 1970s. British Vogue awarded him the title Designer of the Year in 1970, but despite his contemporary relevance and associations with fashion icons like Bianca Jagger, Elizabeth Taylor and Twiggy, his legacy remains largely unexplored. With a foreword by Dame Zandra Rhodes, this groundbreaking book redefines Gibb’s contribution to fashion design, with insights from experts including Iain R. Webb, N. J. Stevenson, Jeena Sharma, Marie McLoughlin, and Christine Rew. There are also interviews with Gibb’s sisters, fashion designer Giles Deacon and Gibb’s long-time collaborator Kaffe Fassett to present a more personal perspective on his creative journey and attitudes to contemporary concerns like sustainability and cultural appropriation. Featuring over 100 colour illustrations including previously unpublished fashion drawings, patterns, and garments, this edited collection offers a unique perspective on Gibb’s artistic vision and shows how 21st century designers can learn from his unique body of work. Scottish born Bill Gibb (1943–1988) was one of the most innovative designers of twentieth century British fashion. Acclaimed as Designer of the Year by British Vogue in 1970, Gibb’s unique designs captured the essence of the 70s with his love of mixing patterns, colour and textures that brought a new vibrancy and excitement onto the British design scene. However, due to his short career and untimely death, his contribution and legacy to contemporary culture, fashion and design history is relatively unknown to younger generations of artists and designers. This ground-breaking book redefines Gibb’s outstanding contribution to twentieth-century fashion design in relation to contemporary issues and themes such as sustainability, digital legacies, interdisciplinary collaboration and cultural appropriation, alongside many previously unpublished illustrations including reproductions of his fashion drawings and garments. These new perspectives on Gibb’s legacy are given by academics and experts including fashion writer Iain R Webb, curator NJ Stevenson, NYC-based fashion journalist Jeena Sharma, fashion historian Marie McLoughlin, and Christine Rew, former manager of Aberdeen Archives, Gallery & Museums which holds the largest collection of Gibb’s work. These are punctuated by a series of poems inspired by Gibb’s collections by Scottish poet Shane Strachan, as well as interviews with Gibb’s sisters, his long-term collaborator Kaffe Fasset, and contemporary British designer Giles Deacon. The book provides a unique insight into personal reflections and collections of Gibb’s work, assessing the impact and contemporary relevance of one of the UK’s most influential fashion designers of the twentieth century.

This companion to the successful The Fashion Resource Book shows student and professional designers how to use visual research to develop a personal aesthetic as a fashion designer in a global industry. The book is divided into three sections: the first presents the research process underpinning the work of 10 designers including Kim Jones for Louis Vuitton, Yohji Yamamoto and Alexander McQueen; the second section is on research and inspiration. The subjects covered include street style and uniform, and the influence of established companies such as Barbour and Gieves & Hawkes. The concept-led work of such contemporary designers as Christopher Shannon and Walter Van Beirendonck is also explored. The third part presents detailed case studies of particular garments, trench coats, parkas and denim jackets among them. Illustrations provide an informative accompaniment to the text throughout.

A lot of startup brands utilized Instagram to build their brand online and to raise awareness toward their brand. Fashion industry is one of the many industries that rely on Instagram heavily. Three Levels of Experiential Marketing was a new strategy that was built from 5 Strategic Experiential Modules (SEMs) from Schmitt such as Sense, Feel, Think, Act and Relate to make the 5 SEMs easily applicable to businesses in Instagram. To validate the application of those Three Levels of Experiential Marketing strategy, startup brands from Faculty of Creative Industry, in Fashion and Product Lifestyle Design program utilized the modules to help build their fashion brand from scratch. There are 20 subjects of students in Fashion and Lifestyle Product Design program in University of Surabaya. These subjects start their own fashion branding on Instagram and utilized the Three Levels of Experiential Marketing Strategy for 1 month. In conclusion, not every factor can be fully embedded, and factors under Sense, Feel and Relate SEMs are the most effective ones.