In this study, the current picture of fashion design education and the implementation of sustainable methods, at the university of Boras were reviewed. Sustainable fashion is a global challenge, and there is a lack of consumer knowledge of sustainability, which is a huge issue. In order to move towards a sustainable future in general, it is important to educate citizens so that they can better understand and develop positive attitudes towards sustainability. The types of sustainable practices offered by universities and how they are implemented are also important, as good practices and implementation may shape the long-term responsible attitudes of design students towards sustainability.

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This thesis researches the role clothes and fashion played in the performance and representation of gender in a Swedish fashion magazine between 1830 and 1835. It also examines the performance of the magazine itself in reproducing idealised appearances, behaviours, and the concept of fashion towards a middle-class readership. A distinction is made between dress and fashion, where dress is understood as the tangible act of clothing, the body and fashion are a collective and conscious belief that grants clothes with an intangible extra added value. The analysis is divided into two chapters. The first focuses on the magazine’s communication on the usage and functions of clothes, as well as how, where, and when they were meant to be worn. This chapter also includes an analysis of the concept of fashion and the magazine’s understanding of it. The second chapter focuses on the performance, gender, and the body, what type of performances can be detected, and their relation to clothes and fashion. The magazine comments on its role and responsibility as a vessel of information on fashion and reinforces the existence of the fashion concept. Fashion was seen as an unavoidable force of nature at the same time as delicate since the act of dress could disrupt the idea of fashion by being worn by too many, thus considered too common. The idea of an external appearance matching internal essence was stressed for both women and men. Clothes visualised a “true” inner self of a person and should ideally overlap, signifying sincerity instead of deception. Dressing for occupational and occasional circumstances was applicable for both women and men. Marriage attire, however, was only directed at women, although men were represented in 47 % of the fashion plates, and information was being relayed concerning men’s fashion, making this absence noticeable.

Innovations in production and retail methods have propelled the fashion industry's explosive growth, with complex global supply chains that pose serious environmental and social issues. Despite increased awareness and multiple attempts toward sustainability, the industry is still trapped in an unsustainable paradigm. Therefore, this dissertation aims to examine the barriers of transition toward a sustainable fashion model. Given the highly globalized nature of the fashion supply chain, and manufacturing spread across different nations, it is essential to examine the barriers to sustainability from the perspective of actors within the supply chain. Examining these issues through the perspectives of manufacturers and other key stakeholders offers valuable insight into the intricate dynamics at work and helps in locating regional barriers that could prevent a smooth transition. Hence, this study focuses on conducting interviews with manufacturers and industry experts in Indian fashion supply chain to get the perspective of a manufacturing country. The findings reveal a disconnect between sustainability standards and their local implementation, often exacerbated by the lack of brand accountability and disregard for local realities. The research highlights how certifications, largely shaped by Western ideals, fail to account for the socio-economic and infrastructural constraints of manufacturing regions like India. This study argues for a pivot away from a one-size-fits-all approach to sustainability, advocating for strategies tailored to local contexts that better align with the needs and challenges faced by actors in developing economies. / Doctor of Philosophy / Innovation in production and sales methods has propelled the fashion industry's notable expansion in recent decades. But along with major social repercussions like low salaries, excessive working hours, and workplace exploitation, this expansion has serious environmental impacts like carbon emissions, water pollution, and wastewater management problems. Considering the growing number of strategies to promote sustainability, the industry is still confronting significant challenges in attaining true sustainability. Thus, this study aims to investigate the challenges of implementing sustainable practices, particularly from the viewpoints of Indian manufacturers and experts. India is a key hub in the garment manufacturing, which is why it was selected as the study location. The analysis reveals a significant discrepancy between the sustainability standards and their actual implementation. A key finding is that organizations based in the West mostly set guidelines for sustainable production, frequently ignoring the particular social, economic, political, and infrastructure difficulties that developing countries like India confront. The study argues that it is imperative that sustainability certifications and standards in this industry be reevaluated. This study advocates for tailored sustainability strategies that consider regional circumstances and difficulties rather than enforcing identical sustainability standards globally. Customizing sustainability initiatives to fit local contexts can lead to more effective and equitable solutions that are both practical and attainable.

This thesis considers issues of individual's 'style competence' within global order. Guje (imported second-hand garments) fashion in South Korea is an ideal case study from which to examine consumer autonomy in the adoption of this Western vintage fashion trend since the 1990s. The importance of guje clothing lies in the local-cultural discrimination between the 'imported' and the local second-hand garments; guje clothes have been considered far more fashionable than the locally generated used garments. Consequently, in guje and vintage markets, the origin bears a great significance, such as German or American yasahng, or Japanese(-import) jeans. While the foreign origin of these garments is an emblem of being stylish, the images of foreign cities are mostly presented as ideal places associated with romanticism and nostalgia. Such fashion practice reflects South Koreans 'rose-tinted' view of foreign countries and material culture. Furthermore, nostalgic memories are imagined and constructed based on Western fashion history in replacement of South Korea's own. More importantly, Japan plays a key role as a cultural and material mediator in the introduction of Western fashion, from jeans to luxury goods, to South Korea. This ethnographic research concludes that guje fashion cannot be regarded as a fully autonomous consumer practice, but rather as symptomatic of global homogeneity, which reveals the cultural and material impact of both Americanisation and Japanisation dominant in South Korea.

This thesis surveys various types of jewellery that reference death which emerged between 1980-2008. It compares them to their historical precedents, particularly mourning and memento mori jewellery, which had fallen out of use by the early twentieth century. The return of this imagery in late twentieth century jewellery might suggest a revival of older, obsolete rituals of death and mourning, and imply changes in popular attitudes towards bereavement and grief, even a new cultural acceptance of death and mortality. However, the contemporary meanings of the new jewellery appeared to be more varied, wide-ranging and ambiguous than those of their historical precedents. The thesis examines some of the changed meanings and altered contexts for the new mourning and memento mori jewellery, by surveying a broad range of jewellery that is normally studied separately within different academic disciplines. It is sourced from the funeral industry, subculture, studio jewellery, pop memorabilia, mass market and avant-garde fashion. In addition, the thesis examines the narratives and meanings that jewellery is imbued with by individuals following bereavement or illness. It addresses questions of how, or whether, items of jewellery differ from other forms of material and visual culture because they are worn objects. Throughout the thesis, jewellery is the key focus and it is analysed using methods from material culture studies, design history and sociology. Together, the breadth of sources and interdisciplinary approach demonstrate that jewellery worn to signify death, memory and mourning is part of a continuum of the wider symbolic and sentimental value of jewellery. The thesis shows a new separation between the functions of mourning and memento mori in jewellery; the absence of an unambiguous, recognisable visual language of death; and a greater, but more private, degree of individualisation of grief in contemporary mourning jewellery than that found in earlier periods.

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<p>This research project analyzes the history between fashion and art and investigates several recent collaborations between designers and artists, with the intention to distinguish the benefits each brand receives through the affiliation with one another. In today?s cultural and commercial market, there are an abundance of new collaborations between designer brands and artists continuously developing. Artists are recognized through gallery and museum exhibitions, as well as through auctions, but what many fail to observe is that artists are being acknowledged through the fashion industry as well. Although there are several collaborations that have already been extensively researched and analyzed, there are countless others that need the same scholarly attention. Through the process of research and interviews, both artists and designers are studied and questioned in regards to their participation within the collaboration. The case studies included analyze the benefits and outcomes of the brand alliance between designers and artists.