The fashion system has increasingly been imbued by ecology and sustainability. While in the recent years a lot on approaches to more sustainable consumption behaviour from the con- sumers’ side have been suggested, this study focuses on the very practice of how sustainabil- ity - in an applied matter - is realised within a fashion company. In this dissertation, two Swe- dish fashion brands, Nudie Jeans co and Filippa K, are being investigated and analysed due to their brand philosophies and concepts dealing with sustainability. If Nudie Jeans co’s first all- organic denim collection launched in Autumn 2012 or Filippa K’s emphasis to the longevity of clothing by classic shapes and plain colours; both ideas foster a slow fashion movement. One of this thesis’ implications is the fact, that the term sustainability is much more far- reaching and expansive as commonly defined. Also timelessness and tradition could be sus- tainable, if still taking care of environment and society. Finally, concepts of sustainability which are commonly not highlighted shall be identified and fill the yet existing gap.

Thesis (M.Arch.)(Prof.)--University of Pretoria, 2004. / Title from opening screen (viewed 11 April 2005). Includes summary. Includes bibliographical references

Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes special study report entitled : Spaces for the performances of fashion within the urban context. Includes bibliographical references. Also available in print.

This project is an investigation of the relationship between spatial dressing and body dressing. It aims to find a new way of dressing the body by looking at how a room is dressed. It is explored by using the mindset of when dressing and furnish a room, looking at elements such as materials, details and fixtures of what defines the different rooms. To gain knowledge and understanding of the chosen elements they have been decontextualized and experimented with on a body, using the body as a spatial canvas. It has been explored through placement in order to challenging the limitations of starting points when dressing as well as other aspects such as the spatial aesthetic as dress, new expressions, function and shape. It suggests a playful- and different interpretation of how to dress the body. The importance of this investigation has been to keep the objects as they are, to mix the things we know and can refer to, in its original form and function, with an unexpected context in order to maximize its potential use and to question how we categorize things.

The purpose of this research is to identify the resources and capabilities utilised for brand development and internationalisation of entrepreneurial womenswear designer fashion enterprises (DFEs). Tis thesis presents an original contribution to knowledge by using the concept of dynamic capabilities as a ‘lens’ to explore the creation of brand identity in the context of the international fashion system. In the pursuit of its aim, this research defines a dynamic capability process of DFE brand development through the codifcation of elements of brand identity, recognising the infuence of co-creation experiences. Furthermore, this thesis identifies the characteristics of DFE internationalisation behaviour, defining how the processes of brand development and internationalisation are related to each other and embedded in the capabilities of the DFE. Entrepreneurial DFEs, recognised within the fashion media as ‘emerging designers’, are increasingly identified as key sectors for economic growth. These enterprises are largely wholesale, highly internationalised operations within the SME sector, strengthened and supported by a broad network. However, signifcant focus within academic literature centres on branding or internationalisation in relation to fashion retail or established luxury firms, ignoring entrepreneurial DFEs who are sources of innovation and creativity for the fashion industry. This research fills a gap in the academic literature by examining the brand development and internationalisation processes of entrepreneurial DFEs operating in the contemporary context of the global fashion industry. Using grounded theory to examine the practice of entrepreneurial DFEs based in London and New York, this research incorporates theoretical sampling to direct data gathering from semi-structured in-depth interviews, observation at London, New York and Paris fashion weeks, and analysis of websites, social media and press. Constant comparative analysis refined emerged concepts into sub-categories, properties and dimensions surrounding the core category of the ‘collection lifecycle’. The findings of this research are organised according to aggregate dimensions of brand identity elements, and a hierarchy of operational routines, dynamic capabilities and organisational learning. This research finds that for DFEs, the development of brand identity is a dynamic capability process embedded in and emergent from operational routines and capabilities. As a resource, the brand guides internationalisation. In turn, internationalisation behaviour requires interaction within the global fashion system that operates as a source for organisational learning, further adapting the DFE’s brand to align with market opportunities. In the explanation of this process, this research presents a theoretical framework and a series of eight propositions defining the product development activities, operational resources and capabilities, dynamic brand development capabilities and process of organisational learning that impacts brand identity creation and internationalisation.

abstract: In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Each photographer explored surrealist-influenced fashion photography and drastically changed the way fashion was seen in the pages of Harper’s Bazaar and Vogue magazine. While scholars believe the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and practice. This thesis argues that Ray, Hoyningen-Huené, Horst, Beaton, and Blumenfeld did not photograph fashion in the surrealist style to promote desire for the commercial product. Instead, they created new pictures that penetrated, radicalized, and even destroyed conventions of mass culture from inside the illustrated fashion magazine. / Dissertation/Thesis / Masters Thesis Art History 2018

No description available.

Fashion involves more than material garments. It is extended to the settings surrounding it. We wear and dress in more than clothes, we do it in scents and lights, in objects and images. Today, when fashion mostly is consumed in pictures - a representation of the physical garment - there is a need for a shifted view of what fashion design is and potentially can become. This work aims to explore and extend the domain of fashion by using text titles as a catalyst for creative activity and seek to move beyond traditional outlets of fashion. Each title becomes a project in itself. Together they form a collection of products in the widest sense that informs the logics of my practice and pose as a suggestion for an alternative approach to collection making as well as to what contemporary fashion design can incorporate.

Creating brand value is a vital procedure for online fashion retailers to customers. In Bangladesh, todays, e-commerce fashion is a new trend for the consumers. People are purchasing through online than ever before in Bangladesh. In particular, there are fewer research that provides insight on how online fashion enterprises create their brand value to. For this, it is important for retailers to create brand value to consumers for their e-trade. Therefore, the author found it interesting to research the brand value of online fashion retailers to customers. From previous literature, there are some limitations for creating brand value to consumers.

This work investigates the area of transformable and modular clothes through the technique of notching. The idea of transformable clothes is not new. Throughout history garments have been tied, wrapped or pinned together. Transformable clothes are often seen as a sustainable option because it challenges the wearer and creates a bond making the garment more valuable. This work seeks to present a new way of draping modular clothes by pinning notching strips onto fabric, transforming it into shapes. Resulting in a collection of pieces that can be combined in many different ways, creating a large collection using a small amount of materials.