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This project incorporates the relationship of fashion and architecture. In major fashion houses currently, architects are becoming an essential element. Their involvement in projects as creative directors is becoming highly prized in the industry. They are increasingly trusted to take the lead and direct the artistic components. In this project thesis I weave fashion into architecture by researching the design of the fashion house, Missoni and drawing from my experience in both fields / Master of Architecture / As I began the academic year leading to my thesis, I started my research by several explorative drawings - fragments of future design - weaving my building. Architecture and fashion play a core role in my life. Architecture is a strong influence as a native Athenian in the hellenic environment. Fashion has been my work field. I considered how all these elements can compose the ideal space for a fashion house. Architecture and fashion are getting closely related in the development of our era. Both pursue beauty, symmetry, comfort, success and popularity from humans. The clothes can be the surface and the material of our buildings. Missoni's colorful threads (the structure) are perfectly woven to create knitwear that protects and covers the human skin. Similarly, this space was woven into its site and guided by my research. This book follows an accurate chronological order of my thought and design process till the very end.

This thesis is a flirtation with architectural materials and tailoring techniques that questions industry solutions and standards. Searching with tailoring precision to create architectural seams, edges, darts, and connections. By coincidence, luck, or destiny, this thesis is also the beginning of Washington DC as a fashion capital of the world by being the epicenter to the new movement on fashion in DC. / Master of Architecture

Att arbeta med miljö och hållbarhet blir allt vanligare inom modesektorn. Samtidigt ställs höga krav på hastighet inom textil- och klädindustrin som pressas till att leverera trendiga, prisvärda plagg i stora volymer så snabbt och effektivt som möjligt på marknaden. Det leder ibland till överproduktion och negativ miljöpåverkan. Hur kan då den så kallade fast fashion-industrin och den mer hållbara modeindustrin samverka så att fast fashion-företag ska kunna nå en mer hållbar affärsmodell? Begreppet kollaborativ konsumtion förekommer allt oftare, vilket innebär en delad ekonomi där konsumenter får tillgång till varor utan att själva äga dem. Det leder till att överkonsumtionen av varor i samhället minskar och istället främjas den hållbara utvecklingen. Uthyrning som ett alternativ till försäljning är förekommande inom modesektorn, både som ett alternativ till den traditionella försäljningen, men även som ett substitut. Dock är det idag inte lika förekommande med uthyrning av fast fashion-kläder, detta anses därför vara ett intressant ämne att undersöka. Studiens syfte är att undersöka möjligheterna att införa uthyrning av kläder i kombination med traditionell försäljning i fast fashion-företaget Gina Tricot och därefter föreslå en möjlig affärsmodell. Studien grundas i affärsmodellen Busines model generation baserat på nio byggstenar, insamlat material i form av intervjuer och webbaserat material från tre företag. Gina Tricot representerar ett fast fashion-företag, Houdini ett livsstilsföretag med uthyrning som ett alternativ till försäljning samt Klädoteket som representerar ett hyrbaserat företag. De tre företagens affärsmodeller har jämförts med varandra samt analyserats med tidigare studier för att slutligen i en analys och diskussion besvara studiens syfte. Sammantaget har studien kunnat visa hur fast fashion-företaget Gina Tricot kan införliva det allt mer aktuella fenomenet, kollaborativ konsumtion i en ny affärsmodell. Vid ett eventuellt införande av Gina Tricot´s nya koncept kläduthyrning, kan företaget behöva förändra framförallt sex av de nio byggstenarna ur affärsmodellen Business model generation. Genom nya värdeerbjudanden, fler marknadsföringskanaler och bättre kundrelationer med utbildad butikspersonal inom hållbar konsumtion, har den nya affärsmodellen stor potential att lyckas då Gina Tricot har de ekonomiska och mänskliga förutsättningarna. Frågan ställs där emot om Gina Tricot´s fast fashion-kläder verkligen håller den kvalitet som krävs för uthyrning i det nya och mer hållbara konceptet, Fast Fashion 2.0.

Background: It is clear that the fashion industry is experiencing a change as a result of the explosion of social media. Today the four key social media platforms for fashion houses are Instagram, Facebook, Twitter and Snapchat. The society has created a culture around these media platforms, which is referred to as insta-culture. Why read Vogue magazine to find out the latest trends, when social media is covering the runways in real time? A debate about what direction the fashion industry is heading towards is a hot topic of discussion. The fashion industry has gone through changes before but now consumers have become more demanding regarding quick accessibility of fashion. Consumer behavior and the way we consume fashion has changed. An obvious sign of the change within the industry is how fashion weeks around the world have become the most coveted”it” event for celebrities and fashionistas worldwide. Fashion week is a fashion industry event that lasts around one week. The goal is for the fashion industry to network and for fashion houses to share their next season collections. Fashion weeks have traditionally been a closed, trade only-event which highlights promotional and glamorous entertainment events. However, now it is the most important shows that everyone wants to be seen at. What will become of fashion weeks is truly unknown. One thing that is for sure is that the development of social media definitely plays a vital role in the change of the industry. Aims of the research: The broader aim of this research is to analyze through the lens of fashion week, what is happening in fashion week and the driver of change within the fashion industry, social media, and to unravel why we see a change in fashion week now. The second aim is also to investigate in what way the change is affecting the way fashion is displayed at fashion weeks. Methods: This thesis was completed by gathering observations and analyzing interviews, blogs, press, journal articles, social media and observations that focused on the phenomenon of fashion week especially in the New York and Stockholm context. This qualitative method is referring to as Netnography using primarily data gathering from the internet and data from the existing interviews with people from the industry. Results: Social media has affected the fashion weeks in many ways. Today fashion brands have to include social media in their marketing strategy in order to survive in the insta-culture that reflects on the society. The insta-culture has as well resulted in that fashion week has been reinvented to an entertainment event open for everyone. The democratization of the fashion week has in turn resulted in that designers have to change how and when they deliver fashion. Instead of waiting six months for the collections to hit the stores, designers now have adopted a see now buy now model. Contributions: The result of this thesis brings awareness to people within the fashion industry and fashion theories when it comes to what is happening to the industry and how to better support fashion management strategies. Social media has created an insta-culture in the society that also affects the fashion industry. This thesis also highlights the great impact that the society has on fashion even today. This study therefore further develops the sociological theory when it comes to the impact from the society and how it affects fashion.

The present thesis aims to investigate students’ willingness to share customer data in the fashion e-commerce. Special attention is given to the way trust, benefits and law regulations are discussed in this context. An inductive approach was applied utilizing focus group discussions. The goal of the empirical study was to gain insights in the way students argue about customer data and which feelings are involved. The study highlights findings in the key areas trust, benefits and law regulations. A shift of customer trust from brands to recommendations could be observed. In terms of benefits, focus group participants tend to choose value exchange over traditional rewards. Findings regarding law regulations suggest that the General Data Protection Regulation of the European Union can provide control of customer data but no security. Furthermore, consumer behavior plays an important role when it comes to data sharing attitudes. The experiences and observations of the participants may not be applicable to other studies. Furthermore, the study findings are bounded to the European Union. The findings suggest that trust, benefits and law regulations can influence students’ willingness to share customer data in the fashion e-commerce. The study is unique of its kind as it investigates the willingness to share customer data with the focus on students and fashion e-commerce. Hence, this research paper fills a gap in scientific literature and is valuable for businesses operating in the fashion e-commerce.

This study provides a comparative analysis of pricing promotions, which create an incentive to buy in Russian and Swedish fashion e-shops. The aim of this work is to determine the national differences in sales promotions used in e-commerce in these countries. This work confirms the existence of modern marketing trend in the e-commerce, which uses discounts as a tool for communication with consumers and for retaining them in the shop as a regular customer, and not just for traditional use of discounts as a way to sell remaining goods. To conduct the study the collected data obtained through systematic observation of application of discounts and promotions as marketing tools in the e-shops in these countries. Following the comparative analysis of statistical data we were able to determine the difference in the periods of sales, the maximum and minimum level of price falls, to create a typology of discounts, typical for both countries and for each of them separately. The recommendations for online retailers who develop the markets of these countries with regard to national specifics in communication with the consumer and based on the most popular types of discounts and promotions are also the important part of this work. The results of this study refute the words of the expert Simonetta Carbonaro that the modern approach to pricing policy in the e-commerce is a "suicide of fashion retail."

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The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.

This project examines the changing world of fashion in an interactive digital magazine format. In the past few years, fashion has increasingly been democratizing, as new designers and forms of media increasingly gain influence. Ready-to-wear designers are working with lower-end brands through collaborations, redefining what each brand is supposed to do, while blogging is allowing those whose voices are usually unheard to openly critique and influence fashion. Overall, they are creating a more democratized space, challenging what was once normal in the fashion industry.