Background: In the last decade, the world has been facing global challenges of climate change as the climate has worsened significantly. Excessive consumption has been identified as one of the biggest contributors to the climate change where people purchase more products than what meets the basic needs. The excessive consumption of products has been prominent in the fashion industry, where female consumers generally purchase more clothes than men. Today, the fashion industry is dominated by fast fashion, where consumers purchase more clothes with a shorter life span. Thus, the fashion waste increases, leaving serious environmental effects. Sweden is said to be one of the greenest countries in the world but is still one of the countries with the highest levels of consumption globally. The private consumption is high in Sweden and one of the biggest consumer markets that have a negative effect on the environment is the fashion industry. As a result, sustainable fashion consumption is becoming more important.   Purpose: The purpose of this study is to explore the sustainable behavior of Swedish female consumers and later understand how different factors is affecting the IB gap in sustainable (secondhand) fashion consumption.   Method: To be able to achieve the purpose of this exploratory study, a qualitative research strategy was applied. The empirical data was collected through in-depth interviews held with Swedish female consumers with intentions to purchase secondhand fashion, which later was interpreted and analyzed through an abductive approach, incorporating a thematic analysis.   Conclusion: The results of this study showed that the behavior of intenders can be characterized by sustainable intentions that do not translate into behavior. Further, the behavior can be characterized by a weak social support system (barrier), poor availability (barrier), low task- and maintenance self-efficacy, high recovery self-efficacy, and no planning. In addition, the results of this study showed that the behavior of actors can be characterized by sustainable intentions and sustainable behavior. Further, the behavior can be characterized by a strong social support system, good availability, high task- and recovery self-efficacy, medium to high maintenance self-efficacy, and planning. The comparison between intenders and actors showed that the perceived barriers for intenders was contributing factors to the IB gap together with their low task- and maintenance self-efficacy through their most likely negative effect on intenders planning. Intenders lack of planning was shown to serve as a negative mediator between intention and behavior, which thereby contributes to the IB gap. While the recovery self-efficacy was high for both intenders and actors, actors has recovery self-efficacy for the desired behavior of purchasing secondhand on a regular basis, while intenders does not.

Consumers have changed their behaviour from passive roles to active ones, demanding their beloved brands to be integrated into long-lasting customer-brand relationships. With this ideology, which is the basis for the S-D logic, there is an on-going scientific debate on the value co-creation phenomenon and its effects on sustaining long-term brand-customer relationships in the context of the fashion industry. These effects are considered to have the potential to sustain a competitive advantage and affect not only the marketing of the fashion brands, but also other facets of such enterprises, including their value and supply chains. Additionally, the world has been experiencing a steep increase in technological innovation under the name of Industry 4.0, where machinery and human labour become integrated into smart systems and consumers have the ability to influence parts of brands which were not available before. Within this context, the interest of this research is to explore the value co-creation phenomenon in relation to the I4.0 dimension in the setting of two generic business models characteristic of the fashion industry (luxury vs. fast-fashion). In exploring the interconnectivity of these two phenomena, this study takes on the digital strategies of Burberry, Louis Vuitton, UNIQLO and Zalando, and assesses their co-creative processes targeted towards their consumers. In doing so, this study is also aiming at identifying the approaches of the chosen brands towards the I4.0 dimension and its relevance towards the process of value co-creation. In order to illuminate the co-creative processes within the digital strategies of the selected brands and to accomplish the research goal, this study takes on a comparative cross-case study methodology synthesising secondary data on both value co-creation and I4.0 as separate phenomena. The secondary data on the digital strategies of the selected brands is used within an existing model called “the Co-creation mix” which assesses the co-creative processes of the brands based on six different criteria: co-creator, purpose, locus, intimacy, time, and incentives. Interpreting the secondary data through such a model resulted in the identification of two different approaches to co-creation and I4.0. The findings indicate that the luxury case companies approach co-creation from a traditional marketing perspective where digital consumer engagement is the main co-creative process, whereas the fast-fashion case companies initiate co-creative processes designed to accomplish goals that are more supply-chain related. This result also brings several intriguing implications. First, the fast-fashion case companies are more technology-driven and are more open towards the implementation of innovative I4.0 technologies within the co-creative processes than the luxury case companies. Second, the consumer role in the co-creation process seems to become less central the more the I4.0 dimension is involved. Third, the model shows that the fast-fashion examples outperform the luxury examples at the dimensions where the latter perform the weakest, such as intimacy and time. And fourth, the study findings confirm the new research opinion that both industry segments have weak areas which can be handled by taking on a mix of the two identified approaches, rather than focus on the traditional one alone. Yet, these findings are not generalizable but only illustrative, meaning that the study provides plausible hypothesis and future research directions concerning value co-creation and I4.0 within the fashion industry context.

This study examines how to make trend fashion based ready-to-wear apparels with no fabric waste in the cutting phase through geometric pattern-making. To work with sustainability through geometrical pattern-making in construction, within the context of commercial fashion. The fashion industry is one of the world's top polluters. Several million tonnes of textile ends up in landfills all over the world every year, landfills are overwhelmed and that has a great impact on the environment. The purpose of this study is to investigate how the method of geometric pattern making can have a commercial value in sustainability. How it can bring benefits within fashion design to become more sustainable, and thus help tackle issues in relation to fabric waste in garment production. Significantly, the project discusses if there can be a way of making commercial clothes more sustainable through geometric pattern-making so no fabric is wasted when it is being cut. The work proposes potential solutions and expressions through this chosen methodology.

The purpose of this thesis is to explore how gender norms are represented and depicted in the commercial sphere of fashion, affecting primarily females. The thesis will highlight the voices of several young females of today and their perception of how it is to be influenced and exposed to gender norms in regards to fashion. This thesis theoretical chapters consists of theories in gender norms, norm-critical design, fashion magazines, editorial design, fashion photography, norm-critical photography and intersectional feminism. Furthermore, the method used for this paper are interviews, a total of 17 people were interviewed, whereas five of them are currently working in either the commercial fashion industry or as creatives on a global level. The interviews occurred online, through both emailing and Instagram. This thesis concludes that several aspects, primarily based on the male gaze negatively influence gender norms in the commercial sphere of fashion. However, it is also concluded that there are several change agents, working towards breaking these toxic influences. The thesis is also part of a design project, which final outcome is exhibited at the exhibition Windows Of Opportunity. An online exhibition hosted by the program Design + Change and Visual Communication + Change, at the Linnaeus University in Sweden. https://2020.designportfoliolnu.se/studentwork/rewrite/

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Background:  Distinguishing from competitors nowadays turns out to be more difficult as mass communication is a topical issue. Not only, but also in the fashion industry, sustainability is an upcoming topic, especially since this industry is deemed to be the second most polluting worldwide and strives for a change in consumerism. Particularly, millennials are perceived to be the generation being most aware of sustainable alternatives and aspire to protect the environment. Green Marketing is applied to thus promote green processes, products and the like to several customer segments.  Purpose:        The purpose of this thesis is to qualitatively explore the impact of green marketing on the purchase behavior of European female millennials in the fashion industry. Method:         The method chosen for this study were online focus groups with female informants from several European countries. Five online focus groups with a total of 31 informants were conducted. The qualitative study is based on an inductive and interpretivist approach. Due to the existence of known models, individual deductive elements were included for data collection. Finally, a theoretical framework was created. Conclusion:        The results show that green marketing is perceived in a diversified way. Positively, green marketing is creating awareness towards considering sustainable fashion and a possible future change in the purchasing behavior. Negatively it is said, that green marketing is often associated with greenwashing and dishonest pursuits of the companies. Due to sustainability becoming more important and popular, green marketing is also related to a trend in marketing to keep up with competitors. However, green marketing in this study was found out to have no significant impact on the purchase behavior. Overall, the impact of green marketing depends strongly on the knowledge level of the informants in this study. It is noteworthy, that informants with basic knowledge are most likely to be influenced by GM

The thesis Photography and fashion: formation of Empty Image explores the phenomenon of fashion photography as it appears in lifestyle magazines. The hypothesis of this study is that the current fashion photography uses creative painting techniques, which denies the key idea about photography - that photography mirrors reality - but in the same time photography recipients are expected to believe this idea. This leads us to the assumption that fashion misuses photography. Fashion Photography, by constant repetition and displaying identical objects that in reality don't exist, which only refer to an indefinite referent gives rise to an empty image with no meaning. Powered by TCPDF (www.tcpdf.org)

The thesis "Fashion, Originality and Style: an Ethnographic Probe into a Fashion Atelier" deals with the phenomenon of fashion from the perspective of anthropology and sociology. It's based on the key theoretical approaches that view fashion as a marker of class and competition of wealth, but also as an expression of one's individuality. The thesis also pays attention to the connections between fashion and cultural environment, and the analysis of fashion in the contexts of material culture studies and the shifting perception of the fashion designer and his work. The work on this thesis also included a field research in the fashion atelier of Ivana Follová, a Czech fashion designer. In the course of several months, the daily operations of the atelier were observed together with the influences affecting the production of fashion goods, and the making of designs. Attention was also paid to the regular customers who frequent the fashion atelier and use its services. The research combined collecting data from participant observations and half-structured interviews. The aim of the study was to find out what principles the fashion industry is based on with a special focus on tailor-made fashion, but also to describe the customers of the atelier and their motives for the need of fashion products.

This work is a proposal for an alternative approach to working with print, making the printing process a key element within designing. It is an investigation into flat garment construction between fabric layers, as this enables for the printing to be used in place of sewing. Additionally, working with multiple textile layers connects with the reference of the peeling wallpaper, which is used as a base for material and form developments. The aim of the work is to develop a more holistic approach and new expressions in garment-making in relation to the application of printing processes within textile layers. The main objective is to present a new perspective of the relationship between garment pattern and print, bringing the later forward. Not only does the surface print, through the interaction of colour and texture provide an important element in terms of creating expression, but it additionally acts as a construction element. Moreover, by using the process of printing to create form the element of print becomes integrated into the process of garment-making.

This research aims to present, analyse and discuss how to sustain a competitive advantage in the Fashion Luxury market throughout a case study of Emerging Fashion Brands. The analysed data determines that considering the customers’ demands, the attributes of the Emerging Fashion Brands and the idiosyncrasy of the Fashion Luxury Market these brands must apply a Differentiation Strategy directed to a focal target group in order to sustain their competitive positions in the market. Furthermore, the findings of the research prove the relevance for Emerging Fashion Brands to identify their innovative capabilities where to design or redefine their Business Models. Also, this research describes a future scenario of the Fashion Luxury Market whereby the identification of the upcoming trends and opportunities are identified. Therefore, a holistic approach of the Fashion Luxury Market is provided in order to help the managerial decision-making.