in English The view of fashion as a system of signification, first introduced in the important work of Roland Barthes The Fashion System (1967), has been dominant since the development of Fashion Studies. But in the last two decades it has been increasingly criticized and confronted with the concepts of identity as flexible dimensions. From a semiotic perspective, the materiality of clothes almost "disappears" into representation. Emerging research on fashion, on the contrary, draws on Gilles Deleuze's notions, that ideas are inseparable from their material expression, and tries to follow attempts in fashion to break with representational mode. But, if Deleuze argues that the possibilities to escape the representation belongs to modern art, with its metamorphoses, what can we argue about fashion? The thesis underlines that above all, fashion is commerce, and each brand carefully constructs its system of values. The physical experience of wearing clothes is always influenced by the meanings circulating in the system of fashion. The limitations of applied semiotics of fashion are evident (clothing and its representations always exist in the context of further semiotic systems), but ultimately unlike the heterogeneity of everyday practice, the "methodological purity" of discursive practices permits...

Abstract  Background: The fashion industry in its current state operates in conditions that are considered unsustainable. In order to appeal to the growing environmental and ethical concern of consumers, fashion brands have started to employ strategies of green marketing, often focusing on clothes marketed as consisting of sustainable or eco-friendly fabrics. Meanwhile, fully sustainable fashion brands have emerged, where sustainability values are carried throughout all organisational practices.  Purpose: The purpose of this study is to explore how sustainable fashion brands market themselves and which types of consumers the current strategies attract. It aims to lay out an initial foundation for further research carried out in the future.  Method: A multi-case study of six sustainable fashion brands and an expert on sustainable fashion consumption was conducted under an interpretivist paradigm. A thematic analysis of the data received through semi-structured interviews provided an initial in-depth understanding of the phenomenon under consideration.  Conclusion: Sustainable fashion brands emphasized the importance of a holistic approach to conducting business under sustainability values. This understanding expressed itself in direct implications for design and longevity of fashion garments and a coherent approach to communication and retailing of products utilizing storytelling and a criteria-based choice of retailers. Main consumer groups identified were sustainability-minded consumers, as well as design-interested ones in some cases.

During the last years, the phenomenon of ultra-fast fashion, specifically the retailer SHEIN, has grown massively and became popular among young female consumers. SHEIN is also known for their polluting productions, bad working conditions, violating (social) sustainable laws and stealing designs from other designers. Still, this does not seem to impact the consumers' attraction towards clothes from SHEIN. The purpose of this research is to investigate the appeal of SHEIN for young female consumers. This research employs qualitative research methods to examine the empirical material in relation to three prominent theories: Hawkin Stern's "impulse buying theory", John Schouten and James McAlexander's "consumption subculture theory", and Russel Belk's "extended self theory". The empirical material for this research was obtained through 10 semi-structured interviews. Given the limited existing research on the phenomenon of ultra-fast fashion, an exploratory research design was chosen to investigate this topic. The empirical findings of this research can be divided into three different themes: The contradicting appreciation, The irrelevance of socioeconomic status and The SHEIN consumption subculture. The central theme lies in SHEIN’s big collection and the respondents’ appreciation for it. Another theme shows that there is not a clear pattern found between the socioeconomic status of the respondents and their SHEIN consumption. Lastly, around the consumption of SHEIN clothes, a consumption subculture is formed. This research is believed to contribute to the under researched area of ultra-fast fashion, as well as further develop and question the selective theories.

With Stockholm fashion week being the largest fashion event in Sweden each fall, there are many expectations on how the event is being handled, from individuals within the industry and non-industry individuals as well. However, with the various societal and global issues that are connected to the fashion industry, such as negative environmental consequences, poor labor conditions in the manufacturing stage and the somewhat dubious natures that models have to endure. This, in turn, begs the question of whether a fashion event such as Stockholm fashion week can be sustainable. Even more important, How is Stockholm fashion week depicted by news articles from the fashion industry and Swedish news outlets? In addition to this broader research question, there also has to be an emphasis on how the different fields (Friedland, 2009) participating in the fashion event emerge with each other and how an individual's habitus (Bourdieu,1957) can be changed with fashion and fashion events.  This research, therefore, had as its aim, via qualitative content analysis as the method, to get a greater understanding of how Stockholm fashion week is being depicted by three fashion industry articles and three Swedish news outlets, in addition to getting a greater understanding of the fashion industry as a whole. By analyzing these articles, and the content within there would emerge patterns of which journalist behind the articles, elected to depict Stockholm fashion week in various manners. This resulted in depictions from journalists suggesting notions such as that Stockholm could be the new fashion capital of Scandinavia to journalists encouraging the readers to be more aware of the negative impacts of clothing and fashion.  These types of results could imply that a large part of the way that the fashion event was depicted was due to two notions. The first is that the journalist behind the article has somewhat free reins when it comes to the manner of content in the article, which can encourage non-individuals in both positive and negative ways. Secondly, is the notion that many journalists have to keep in consideration their profession as journalists (International Federation of Journalists (IFJ),(2019) when they mix up their journalistic field with the fashion field (Friedland,2009). Conclusively, the research gives a greater understanding of the Swedish fashion industry and the importance of the journalist and news, which could be even further researched in future projects. / Med Stockholms modevecka som det största mode-eventet i Sverige varje höst, finns det många förväntningar på hur eventet hanteras, även från privatpersoner inom branschen och privatpersoner utanför branschen. Dock med de olika samhälleliga och globala frågor som är kopplade till modebranschen, som negativa miljökonsekvenser, dåliga arbetsvillkor i tillverkningsledet och de lite tveksamma naturer som modeller får utstå. Det väcker i sin tur frågan om ett mode event som Stockholms modevecka kan vara hållbart. Ännu viktigare, Hur skildras Stockholms modevecka av nyhetsartiklar från modebranschen och svenska nyhetskanaler? Utöver denna bredare forskningsfråga måste det också finnas en betoning på hur de olika fälten (Friedland,  2009) som deltar i modeevenemanget växer fram med varandra och hur en individs habitus (Bourdieu, 1957) kan förändras med modet. och modeevenemang. Denna forskning hade därför som mål att, via kvalitativ innehållsanalys som metod, syfta till att få en större förståelse för hur Stockholms modevecka skildras av tre modebransch artiklar och tre svenska nyhetskanaler, förutom att få en större förståelse. av modebranschen som helhet. Genom att analysera dessa artiklar, och innehållet däri, skulle det framkomma mönster av vilken journalist bakom artiklarna, som valt att skildra Stockholms modevecka på olika sätt. Detta resulterade i skildringar från journalister som antydde föreställningar som att Stockholm skulle kunna bli Skandinaviens nya modehuvudstad till journalister som uppmuntrar läsarna att bli mer medvetna om de negativa effekterna av kläder och mode. Den här typen av resultat kan antyda att en stor del av sättet som modeevenemanget skildrades berodde på två föreställningar. Det första är att journalisten bakom artikeln har lite fria tyglar när det kommer till innehållssättet i artikeln, vilket kan uppmuntra icke-individer på både positiva och negativa sätt. För det andra är uppfattningen att många journalister måste ta hänsyn till sitt yrke som journalister (International Federation of Journalists (IFJ),(2019) när de blandar ihop sitt journalistiska område med modeområdet (Friedland, 2009). Sammanfattningsvis ger forskningen en större förståelse för den svenska modebranschen och vikten av journalist och nyheter, vilket skulle kunna forskas ytterligare i framtida projekt.

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[pt] O objetivo deste trabalho foi o desenvolvimento de um produto a partir dos resíduos têxteis de confecção, em especial do tecido de viscose. O propósito do estudo é mostrar uma forma de reutilização de resíduos da confecção visando reduzir o tempo de descarte desse material. O trabalho buscou trazer uma alternativa que possibilitasse dar outra origem que não o descarte puro de restos de panos da confecção, produzindo papel tecido que será utilizado na própria confecção, como tags e caixas. Essa substituição pode levar à menor utilização de materiais de embalagens e diminuir a quantidade de lixo produzido em toda a cadeia de comercialização de roupas. O esforço desse estudo foi propor uma forma de reduzir a agressividade e a velocidade que os resíduos têxteis são gerados. Foi desenvolvido um produto a partir do resíduo da viscose como matéria prima, transformando lixo em papel de tecido fabricado a partir da releitura da técnica chinesa do século II d.C. a qual triturava trapos e galhos, levando a criação de produtos para uso papeleiro e com características próprias como cor de origem dos retalhos, boa maleabilidade, qualidade entre outros. Também foi realizada uma pesquisa sobre o potencial de decomposição desse papel de viscose no meio ambiente e como seria o seu processo de decomposição em diferentes tipos de superfície. Foi observado que os papéis de tecido se decompõem rapidamente, demonstrando inclusive melhor perda de material em comparação as tags comuns de papel produzidos pelas gráficas em geral. / [en] The objective of this work was the development of a product from textile waste, especially from viscose fabric. The purpose of the study is to show a way of reusing manufacturing waste in order to reduce the disposal time of this material. The work sought to bring an alternative that would make it possible to give another origin than the pure disposal of cloth leftovers from the confection, producing tissue paper that will be used in the confection itself, such as tags and boxes. This substitution can lead to less use of packaging materials and reduce the amount of waste produced throughout the clothing marketing chain. The effort of this study was to propose a way to reduce the aggressiveness and the speed at which textile waste is generated. A product was developed from viscose residue as a raw material, transforming waste into tissue paper made from the reinterpretation of the Chinese technique of the 2nd century AD. which shredded rags and twigs, leading to the creation of products for paper making and with their own characteristics such as the original colour of the patchwork, good malleability, quality, among others. Research was also carried out on the decomposition potential of this viscose paper in the environment and how its decomposition process would be on different types of surfaces. It was observed that tissue papers decompose quickly, even demonstrating better material loss compared to common paper tags produced by printers in general.

This Master's Thesis deals with the Czech fashion scene. Development of fashion is outlined in the introduction. It should help to understand the whole market. The work deals with marketing of fashion brands and focuses primarily on marketing Czech fashion brands offering fashions for women. Czech fashion scene is analyzed in detail and pointed out the weaknesses that need to be improved. In connection with the findings outlined here is a solution that should help Czech fashion scene.

A key to a business's success is reaching the target market. This ensures that consumers are exposed to the retailer's offerings and by turn, inspired to purchase. In turn, the business can reach its goal of a profitable organization. The purpose of this paper was to determine the most effective fashion advertising appeals for reaching target markets. To address these issues, this thesis consisted of two studies. The purpose of the first study was to determine the advice given to fashion entrepreneurs regarding effective target market practices. The purpose of the second study was to determine effective advertising strategies fashion entrepreneurs may employ for effectively reaching target markets. Data was collected to test the effectiveness of the advice from Study 1, degrees of brand awareness, attitudes towards advertising, willingness to follow trends, purchase intention, purchase behavior, and shopping involvement. The Theory of Reasoned Action was employed as the theoretical framework of the study. The framework was utilized to predict that attitudes towards targeted advertising and pressure to follow fashion trends would positively relate to intent to purchase which, in turn, would positively relate to purchase behavior. The results of this paper concluded the TRA model provided a proper framework to predict purchase behavior from targeted advertising employed by fashion entrepreneurs.

M. Tech. (Department of Visual Arts and Design: Fashion, Faculty of Human Sciences), Vaal University of Technology. / INTRODUCTION AND BACKGROUND The fashion trade is a global industry (Amankhwah, Badoe & Chichi 2014:144) that plays a major role in the socio-economic development of many countries (Sarpong, Howard & Osei-Ntiri 2011:98). A number of Asian countries, for example, have been known to thrive in the international textile and fashion trade, owing to their successful training programs in fashion and apparel design (Maiyo, Abong’o & Tuigon’g 2014:63). In South Africa (SA) fashion is also seen as an important industry, as it forms part of economic development programs (Dlodlo 2014:191) and aids in income generation for individuals, not only in major cities, but also in smaller towns and peri-urban areas. Thus, the statement can be made that the successful training of individuals through training programs (with regard to fashion-related skills) has a direct link to a thriving fashion industry and a direct impact on individuals, group and community income generation. Nonetheless, not all individuals within the fashion industry have acquired formal fashion training. Some may have obtained fashion-related skills (such as sewing, pattern making and fashion drawing) through family members, short courses, school or in-service work experience elsewhere. These skills, particularly fashion drawing and illustration (hereafter referred to as fashion drawing), are necessary visual communication tools with which the designer relays their ideas and designs to the client. Visual communication is a pictorial form of communication where visual symbols are incorporated in order to convey information (Liu 2015:41) and this process of visual communication enables both parties to be equally clear about the proposed design (Tatham & Seaman 2004:114; Calderin 2013:148). Thus, specifically in relation to the field of fashion, visual communication is used to communicate designs or ideas to individuals in a visual manner by making use of sketches, photographs, drawings, etc. However, in a previous study conducted in the Sedibeng District Municipality (SDM) (Van Wyk 2007:78), it was found that the most prominent skill that fashion entrepreneurs felt they needed, but lacked, is that of fashion drawing. Of the total sample population, 19% indicated that they do not possess fashion drawing skills. Although this is not a significantly high number, it is important to note that 66% of the mentioned study’s respondents had obtained qualifications from tertiary institutions (Van Wyk 2007:77), which would in all probability have included a fashion drawing curriculum. The lack of drawing skills could be problematic, as this lack relates to client satisfaction which, in turn, promotes the success of entrepreneurial endeavours (Burns & Bryant 2002:42). To address this, the current study was aimed at determining the level, nature and type of fashion drawing applied by fashion entrepreneurs with no formal fashion-related training (FEWNFFRT)1 within the Emfuleni Local Municipality (ELM). This ascertainment was completed in terms, specifically, of the following: the use of fashion sketches to visually communicate the design of the garment to the client; the challenges experienced by the fashion entrepreneurs when communicating an idea or design to a client; and the need for training in fashion drawing as a means of visual communication. A quantitative, non-experimental needs assessment was conducted among a group of FEWNFFRT within the ELM. It is important for the reader to note that this specific research study formed part of a larger study, in which the data was gathered in a joint manner with another researcher (whose study focussed on the business skills training needs for FEWNFFRT in the ELM). To clarify, data was collected and analysed together, but the interpretation and application of the data differed due to different research questions, focus and context. Therefore, while the same data was gathered and used in conjunction with another researcher, it should be noted that this study followed a unique angle. The reason for the joint data collection was dictated by the specific constraint of the study in terms of the specific inclusion criteria to which the sample population had to adhere. Interviewer-administered questionnaires were employed in order to gather data from respondents. This type of data collection tool was seen as the most appropriate for the collection of data for this study, as it was conducted in a verbal manner and allowed the interviewer to explain questions and instruction to the respondents in cases where questions were in any way unclear or the respondents were uncertain. This in turn ensured a higher response rate and enhanced the quality of the data gathered. Insight gained from this study aided in generating a new understanding of the fashion drawing skills training needs of fashion entrepreneurs in the ELM region, which may guide future research aimed at developing training programs, materials and interventions with regard to fashion drawing skills.

This case study examines how luxury fashion brands communicate their sustainability practices on the brands' sustainability page on the company's website and whether selected luxury fashion brands are greenwashing and bluewashing. The luxury brands selected for this study are Stella McCartney and Gucci, on the grounds that both brands have different types of businesses and approaches. To understand the context, this study uses the triple bottom line sustainability concept by Elkinton (1998), sustainable luxury fashion brands (Godart & Seong ,2017; Wiedmann et al., 2009; Joey et al.,2012; and Franco et al. 2019), greenwashing concept by Delmas & Burbano (2011) and bluewashing concept (Sailer et al., 2022). To conduct the analysis, this study uses textual, eco-lexicon categorization developed by Thomas (2008) and the categorization from Milanesi et al. (2022) is adapted for visual analysis and the sins of greenwashing by Terra Choice (2010) to see the potential of greenwashing. The results shows that Stella McCartney and Gucci sustainable communication serves as their marketing strategy which encourage purchase and therefore it is problematic. Both brands use vague, ambiguous words, terms, and certifications and lack of transparency. While the images are not yet seen as a potential tool to communicate sustainability initiatives. Even though the brands are known as sustainable fashion brands, the result demonstrates brands show irrelevancies and paradoxes between what the brands communicate and their actual practices ; therefore show potential greenwashing and bluewashing.