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I Sverige köps det idag 13,1 kg kläder per person och år, av dessa slängs 8 kg kläder per person och år. Cirka 60 procent av det som slängs skulle dessutom kunna användas igen. Detta är en inte en hållbar resurshantering och för att ta tillvara på kläderna behövs en omställning där kläderna ses som en resurs. Denna studie syftar till att undersöka varför svenska klädföretag arbetar med cirkulär ekonomi, hur de arbetar och vilka svårigheter som kan uppstå med arbetet. Studien genomfördes med hjälp av åtta stycken semistrukturerade intervjuer inom ett brett spektra av svenska klädföretag. De klädföretag som har intervjuats är H&M, Filippa K, Björn Borg, Myrorna, Swedish Stockings, Odd Molly, Fjällräven och Houdini. Erfarenheterna från respondenterna redovisas i fyra olika teman – kläder som resurs, beteendeförändringar, ansvar och överlevnad och förändrad marknadssyn. Det empiriska materialet ställs mot varandra och jämförs med tidigare forskning. Resultatet av studien visar att klädföretagen ser cirkulär ekonomi som deras framtida överlevnad. Det är viktigt att börja se kläderna som en resurs efter användning och det krävs mer arbete i designfasen för att verkligen göra skillnad. Det har även visat sig att det krävs beteendeförändringar för att kunna ställa om till en cirkulär ekonomi. / In Sweden people purchase 13.1 kg garments per person per year, of these garments 8 kg per person per year gets discarded. Approximately 60 percent of the discarded garments could be used again. This is not a sustainable resource management and to take advantage of the garments a transition is needed because the garments have to be seen as a resource. This study aims to investigate why Swedish clothing companies work with circular economy, how they are working with this and what difficulties may arise during the process. The study was conducted with the help of eight semi-structured interviews in a wide range of Swedish fashion companies to share their views and experiences. The clothing companies that have been interviewed are H&M, Filippa K, Björn Borg, Myrorna, Swedish Stockings, Odd Molly, Fjällräven and Houdini. The experience of the respondents are presented in four different themes - clothes as a resource, behavioural changes, responsibility and survival and change in market view. The empirical data are compared against each other and also compared with previous research. The results of the study show that the clothing companies are seeing circular economy as their future survival strategy. It shows that it is important to begin to see the clothes as a resource and further work is required in the design phase in order to really make a difference. It has also been shown that it requires behavioural changes in order to adjust to a circular economy.

There are a lot of different business strategies for any company. However, in the fashion industry, the best way to become successful is to develop the brand using special branding strategies. Hence, a brand is the main weapon for fashion companies, which helps to launch international market and to create loyal customers around the world. Nowadays, due to the difficult current political situations and the collapse of oil and the dollar a lot of companies in different industries have to change their business strategies. It is especially true for fashion companies, because they depend on consumers ' income and their purchasing power. In the case of the fashion industry, branding strategy development can be more effective, than just business strategy. Hence, this thesis discusses the following problem: What branding strategy should Russian and Swedish fashion companies choose in order to build a strong brand and enter the international market.  The purpose of this thesis is to analyze various branding strategies of Russian and Swedish fashion companies during the process of entering foreign markets. At the end of this thesis, practical contribution in their process of international branding strategy creation will be discussed. In order to answer research questions more broadly and accurately, the mixed research method, using quantitive and qualitative study through interviews and survey was chosen. Semi-structured interviews were made with the CEO and brand managers of Russian and Swedish fashion companies. Moreover, the survey was made with two different questionnaires: for Russian and for Swedish customers. In the case of qualitative research, the author found that fashion companies from Russia and Sweden have got not just some features and differences, but also common aspects. The primary data from interviews allowed the author to understand the specifics of brand management in the fashion industry. It was found, that there are some useful aspects in Swedish strategies, which can be used by Russian companies to develop their brands on the international market. In the case of quantitative research, preferences of consumers from Russia and Sweden were analyzed and also some features were identified. Survey results provided the author with a common understanding about purchase habits, attitudes and perceptions to fashion brands. According to these, some hypothesizes, which are formulated in the first part of the thesis, have been proven or disproven. It was found, that preferences of Russian and Swedish people are pretty the same, however Russian customers do not like to risk with new brands and prefer well-known and trusted brands while Swedish customers are open for any brand, which can satisfy their tastes.

Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet. / This research explores the productions and the articulations of belonging to Slow Fashion on Twitter. In reaction to the current model of the garments fashion industry, the Fast Fashion, based on overproduction and overconsumption, Slow Fashion aims at raising awareness of the actors of the fashion industry concerning the impacts of their practices on workers, communities, ecosystems (Fletcher, 2007) and suggests a deceleration of clothing production and consumption cycles. The aim of this research is to show how the relationships between the participants are surfacing on Twitter and how those interactions are organized as a rhizome ; a assemblage where elements and components don’t follow a tree-like hierarchy or linearity and don’t emanate from a single point of origin. (Deleuze & Guattari, 1976) On Twitter, Slow Fashion belongings emerge and connect to each other through different kind of links. Consumers, designers, companies, journalists, etc., collectively build the Slow Fashion as an alternative movement to the current hegemonic fashion model. My theoretical framework is based on a litterature analysis which explores the concepts of fashion, identity, and belonging in order to contextualize the emergece of Slow Fashion. I also conducted an exploratory netnographic study on Twitter : I observed and participated in interactions addressing Slow Fashion and/or ethical Fashion. The « creative presentation of research » (Chapman & Sawchuk, 2012) published in this blog (http://belongingtoslowfashion.blogspot.ca) does not propose a history of the Slow Fashion and its origins. Rather, it offers a partial picture of a certain moment of the movement. Build as a rhizome, this research has no beginning, no ending, no hierarchy. I invite readers to start by any entry point and to abandon any kind of deductive or linear logic. This exploration will be guided by hyperlinks or annotations that will connect to other parts or that will make emerge other questionings. It offers an introduction to the challenges of Slow Fashion, it opens the way for further research, other reflexions and the issues it raises.

This thesis defines fashion law as a specific horizontal legal field that relates to the protection of design, materials, manufacturing processes, technology, shapes, lines, colours, finishing and labelling, trademark infringement and copyright protection. Moreover, it deals with crucial topics in the field of fashion law including licensing and enforcement of rights to the products available to retailers, manufactures, and fashion designers. In addition, the thesis studies the establishment and development of fashion law abroad, particularly in the United States of America, as well as in the Czech Republic. In this thesis, the definition of fashion design includes its features and unique remarks in comparison to other types of design. Further, the thesis thoroughly examines and analyses the protection of fashion design available to retailers, fashion designers and manufactures under Czech law, especially trademark protection, copyright protection, competition law and trade dress protection. It studies various sources of law, including case law, statutes, international treaties and soft law that relate to the protection given by the Czech and other legal systems. Moreover, it analyses the concurrence of the copyright protection of design and industrial design protection. Finally, the thesis studies...

Thesis. (M. Tech. (Dept. of Marketing, Faculty of Management Sciences)) -- Vaal University of Technology, 2011. / The underlying determinants of how and why people shop has been a topic of study for many years, when typologies of shopping styles were developed. These studies have been successful in demonstrating that some shoppers display consistent shopping orientations that can be diametrically opposed, for example, the functional shopper versus the recreational shopper. This study concentrates on purchasing patterns of consumers by examining the decision-making styles of Generation Y consumers with regard to fashion apparel. The study reports on various stages that consumers undergo when confronted with a decision situation. These stages are outlined as need recognition, information search, pre-purchase evaluation, purchase, consumption and post-consumption. The buying behaviours influencing consumers were categorised into internal and external factors. The internal factor includes perception, motivation, learning, attitudes, personalities, self-concept, lifestyle and demography. The external factors comprised the following variables, namely, cultural background, subculture, family influence, and the social factor. The general characteristics of Generation Y were briefly discussed. Various dimensions used to measure consumer decision-making styles were reviewed in the study related to perfectionism, brand consciousness, novelty-fashion consciousness, recreational consciousness, price-and-value-for-money consciousness, impulsiveness and confusion as a result of overchoice of brands. The study adopted quantitative approach. A structured questionnaire was used to survey 230 students who were selected using non-probability convenience sampling. Seven dimensions measuring consumer decision-making styles were found to be applicable within the Generation Y context. These consumers were profiled as being quality conscious, brand conscious, novelty-seeking, hedonistic, confused by overchoice, habitual, brand loyal and fashion conscious. Differences were found between consumers who are confused by overchoice and younger Generation Y consumers. Younger consumers were found to be more confused by overchoice compared to their older counterparts. It is suggested that apparel retailers should try to use communication channels which will be more understandable by Generation Y consumers, and they should provide information that assists buyers to make a rational decision in the buying process. Differences were also confirmed between habitual, brand-loyal consumers and age. It was found that younger consumers are more likely to be loyal to specific brands as compared to their older counterparts. Differences were noted between brand conscious, confused by overchoice and gender. Brand consciousness was regarded as a reflection of men‟s desire to use shopping as a demonstration of their superiority, as well as being beneficial because they reduce search costs. It was revealed that males were more brand conscious than their female counterparts. It also highlighted that males were more confused by overchoice than females. The study found that the majority of Generation Y does pursue quality, even if it means paying higher prices. It is recommended that retailers should continue to emphasise their well-known brand names and set prices at levels where consumers perceive the quality of the product by its price. Retailers should focus on diverse designs, sizes and colours in their product assortment and range. The introduction of new products through the use of fashion shows, fashion magazines and advertisements may provide added advantages in terms of brand awareness / Central Research Committee of the Vaal University of Technology

[pt] A dissertação Estratégia de Design em Empreendimentos de Moda - As Tramas do Sucesso Empresarial no Design de Moda na Cidade do Rio de Janeiro tem como objetivo identificar os elementos da gestão do design de moda aplicados aos empreendimentos de moda da cidade desde o seu surgimento, nos anos 60, ainda que a aplicação destes elementos tenha se dado muitas vezes de forma intuitiva pelos seus gestores. E, assim, avaliar a importância da metodologia da Gestão em Design aplicada aos negócios de moda. A pesquisa ambienta o sistema de comercialização prêt à porter, posteriormente, na própria cidade do Rio de Janeiro, primeiro realçando os elementos locais que se traduziram em um estilo carioca, para em seguida traçar um panorama do surgimento e desenvolvimento da moda na cidade e como eles se materializaram na indumentária e paralelamente num estilo próprio de vestir. A partir daí, são elencados alguns elementos de gestão em design (com foco em branding, gestão de marcas) que se aplicam à indústria do vestuário e, posteriormente, associando a pesquisa bibliográfica à verificação a aplicabilidade destes elementos citados em uma pesquisa exploratória, através das entrevistas qualitativas. É aqui, então que se materializa a pertinência destas ferramentas, técnicas e estratégias organizadas como uma orquestra, de forma a conduzir a marca, a notoriedade e a excelência junto ao mercado. / [en] The dissertation Design strategies in Fashion Enterprises - The interprises sucssess weft in fashion design at Rio de Janeiro city, focuses on the Business Success Stories (plots) of Fashion Design in the city of Rio de Janeiro with the aim to the identify elements of management in the field of fashion design and their application within the undertakings of fashion here since its emergence in the nineteen sixties. Furthermore how the application of these elements were often introduced intuitively by its managers, herewith evaluating the relevance of design management epistemology applied to business generically. This research depicts the overall ambience of the fashion system on a whole and subsequently that of Rio de Janeiro itself. It does so by, first emphasizing the local elements that were translated into a carioca style and then, by describing the origins and development of fashion design in this city and finally, the materialization of its clothing industry. At the same time it will describe how it developed into a local dressing style. From this point on it lists the elements of management in design that are applicable to the fashion industry, with branding management emphasis, and thereafter, validating it with the bibliographic research and qualitative field research of the cited elements. This is where the relevancy of the tools, techniques and strategies materialize, organized as an orchestra, in such a way as to conduct the brand and carry it onto the absolute renown and excellence of the market.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

O dinamismo inerente a moda expõe as cadeias de suprimentos a um desafio constante: gerenciar a relação com múltiplos agentes envolvidos em um longo lead time produtivo, enquanto atendem aos anseios por novidades frequentes no ponto de venda. A Cadeia Produtiva Têxtil e de Confecção (CPTC) se antecipa, em até dois anos, nas apostas de tendências e direciona às suas confecções um fluxo empurrado de produtos originais em formas, matérias, cores e estampas. Contudo, é no varejo que o êxito, ou insucesso, de uma coleção fica nítido e tem seus maiores impactos de incerteza. Em sentido contrário, o fast fashion ganha notoriedade por resolver esta problemática, encurtando ciclos produtivos e postergando acabamentos de produção, em uma cadeia de suprimentos que atende às solicitações do varejo, com trocas constantes de informação. Este modelo de negócios se torna, na revisão bibliográfica, um bom exemplo de aplicação das práticas de Gestão da Cadeia de Suprimentos (GCS) na moda, com exemplos recorrentes de marcas do Reino Unido, Suécia, Estados Unidos, Itália e Espanha. Surge, então, o interesse em verificar como interagem os agentes das CPTC do Brasil, comparando coleções programadas e de moda rápida, e se conseguem aplicar as diretrizes da GCS. Um estudo de casos múltiplos em 4 empresas, sendo 2 em modelo tradicional e 2 fast fashion, leva a resultados que confirmam a literatura nas práticas varejistas, enquanto diferem, especialmente nos métodos produtivos, levando a indagações sobre a adaptação dos parâmetros internacionais ao cenário local / The inherent dynamism of fashion exposes supply chains to a constant challenge: managing the relationship with multiple agents involved in a long productive lead time, while meeting the yearnings for frequent novelties at the point of sale. The Textile and Apparel Production Chain (TAPC) anticipates trends, within two years, and directs to their factories a flow of original products into shapes, materials, colors and prints. However, it is in retail that the success, or failure, of a fashion collection becomes clear and has its greatest impacts of uncertainty. On the other hand, fast fashion is notorious for solving this problem, shortening production cycles and postponing production finishes, in a supply chain that responds to retail requests, with constant information exchanges. This business model becomes, in the bibliographic review, a good example of applying the practices of Supply Chain Management (SCM) in fashion, with recurring examples of brands from the United Kingdom, Sweden, the United States, Italy and Spain. Arises interest in checking how the TAPC agents of Brazil interact, comparing traditional and fast-fashion collections, and whether they are able to apply the guidelines of the SCM. A multiple case study in 4 companies, 2 in a traditional model and 2 fast fashion, leads to results that confirm the literature in retail practices, while differing, especially in productive methods, leading to inquiries about the adaptation of international parameters to the local scenario