The main objective of this work is to highlight the specifics of marketing communications in the fashion industry on an example of a particular company, an Italian company Diesel. Theoretical knowledge of fashion marketing, management of fashion companies and the characteristics of the fashion market are applied to the brand Diesel. Marketing Communication is subject of analysis of individual campaigns and then summarized the common characteristics of the whole communication. Common features are compared with the communication features of premium brands in fashion and fashion brands of mass market. At the end is described Diesel brand on Czech and Slovak markets.

Ce travail de recherche porte sur les liens qu'entretiennent l'animal et la mode, au prisme d'une étude iconographique orientée par une approche pluridisciplinaire. Entre fascination et paradoxes, la mise à contribution de l'animal et de ses attributs – physiques, graphiques, symboliques – sert d'abord les productions matérielles et immatérielles de la mode : les bêtes participent aux stratégies de transfiguration du réel propres à ce secteur économique singulier. Dans le même mouvement, le recours à l'animal apparaît aussi comme le relais esthétisé de représentations normées ; il devient un prétexte pour penser le monde, la nature humaine et ses rapports sociaux. Ainsi, tout en suivant la dynamique contemporaine d'engouement pour une Wilderness fantasmée, l'iconographie de la mode participe aux réécritures actuelles de ce qui fait l'humain. Néanmoins, les images de mode jouent un rôle dans les réévaluations et les négociations croissantes des frontières qui séparent les membres du vivant. En développant un travail spécifique autour du corps et de ses parures, elles proposent une voie alternative pour reconsidérer une altérité animale aux contours de plus en plus poreux. Il s'agit donc d'observer comment les formes visuelles de la mode et de son imaginaire traduisent la complexité de relations anthropozoologiques contemporaines en pleine mutation. / This research explores the connections between fashion and the animal, by means of an iconographic study guided by a multidisciplinary approach. Raising fascination and paradoxes, the use of the animal and its attributes – physical, graphical, symbolic – benefits, in the first place, material and symbolic fashion’s productions : animals are involved in the transfiguration-of-reality strategies peculiar to the unique economic sector that is fashion industry. At the same time, animals appear to be an efficient and aesthetic way of representing human activity : they are a tool to rethink the world, human nature and social relationships. Thus, involved in the general contemporary dynamics of keen interest for a fantasized Wilderness, the fashion iconography contributes to the current rewriting of human definition. Nevertheless, fashion pictures play a part in the growing negotiation of boundaries between members of the biological field. By developing a specific work on the human body an its fineries, they offer an alternative path to the reconsideration of an animal otherness whose borders seem more permeable everyday. This work is an attempt to examine how fashion's visual forms and imaginary express the contemporary complexity of far-changing anthropozoologic interactions.

This doctoral enquiry develops practice-orientated approaches to design for sustainability. It focuses on the relationship between garment design, laundry practices and sustainability, and responds to research that evidences domestic laundering as one of the most environmentally damaging stages in a garment’s lifecycle (Allwood, et al.,2006; Hansen, et al., 2007). A one-year laundry study surveyed the use and laundry of sixteen garments to ascertain the relationship between garment design and laundry behaviour. The research findings revealed that laundry behaviours are complex and unpredictable, and often not directly linked to producing cleaner clothes. Laundry routines are underpinned by factors beyond cleanliness including: garment use, social auditing, garment aesthetics,life stage, cultural norms, and spatial arrangements within the household. Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. The findings highlight that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. It decentres material products and attends to the embedded social dynamics that are set within a nexus of spaces, materials, thoughts, actions and emotions. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion. The central insight from the research shows there are multiple benefits from incorporating social theory into methodologies for design for sustainability.

The fashion industry is today a global industry and has huge effect on our environment as well as on people. It is dominated by fast fashion and just-in-time production that has lead to increased seasons and mini-collections in season, which generate new low price items in store every week and even every day. This in turn has lead to an escalation in fashion trends that spris our desires for new experiences and leads to overconsumption where consumers buy more than they need, which in the end results in fashion waste. / Program: Magisterutbildning i Applied Textile Management

Background: Historically, fashion was not always gendered. After the Great Masculine Renunciation however, men relinquished their rights to excess of physical aesthetics and being ‘beautiful’. Cultural masculinity and gendered norms have since impacted male fashion and constrained the western male look to being understated and practical. Recently, new male icons have surfaced. Certain celebrity appearances have received coverage by popular media, since they are exhibiting a more androgynous and diverse take on masculinity than what is normally presented in the public sphere. There is a hype surrounding this, displayed online. Increasing sales of menswear also indicates that this hype surrounding men’s fashion might be spreading to the general public. This phenomenon inspires speculation about whether or not the average western millennial man actually adopt this new trend they are said to be the leaders of. Purpose: The purpose of this thesis is to examine and describe the relationship that the millennial men have with fashion, with regards to attitude, subjective norms, and behaviour. Methodology: The research builds on a pragmatist philosophy which allows both interpretivist and positivist positions. This allowed a quantitative method to be conducted, using an abductive approach. The data was collected through a survey, using quantitative questions. The acquired data and was analysed through descriptive statistics. Findings: The main findings show that millennial men should not be treated as a single homogenous cohort in research surrounding fashion. The findings also demonstrate a clear shift in men’s attitudes towards shopping and fashion, showing that it is not a feminine activity. However, the attitude towards “the new style of men” is quite scattered. Thus, it seems that this hype around changing male fashion has only started trickling down from the niche community that is considered to be leading this change. Regarding their behaviour, most men still prefer buying clothes from a brick-and-mortar store and do not use the online environment actively to seek out and consume fashion.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains viii, 63 p. 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.

Fashion is ubiquitous, and it plays a significant role in the contemporary global market, in the creative industries and in urban social space. In the realms of art, history, philosophy and cultural studies, however, fashion is often regarded as a subaltern, peripheral or even unorthodox topic. Hence, this study aimed at remapping the relationships among the interdisciplinary and conflicting notions of fashion, determining which and how fashion theories are applicable to the real fashion industry in a specific place at a particular time, apprehending the nuanced mechanisms involved, and seeking to create a substantial case for the social construction of fashion. In general, the research investigated how the global fashion industry and the print media in Hong Kong appropriate, negotiate and re-create ideas of fashion. The research questioned how and why fashion media personnel represent certain luxury brands as fashionable through textual and visual signs, how they learn and improvise their ideas of fashion at the outset, and how they adapt and negotiate fashion’s meanings. The presentation will be in three parts. First, the literature on interdisciplinary fashion theories, the fashion business and case studies will be reviewed to explain the delicate and unobserved process of fashion communication. An empirical study of fashion marketers’ and media personnel’s perceptions, and their creation and negotiation of fashion meanings will be presented. This involved participant observation and in-depth interviews in two different but highly connected fields: as a fashion reporter in the editorial team of a Hong Kong fashion magazine; and as a marketing assistant in the PR and marketing team of a British luxury accessory brand. The rapport built through the fieldwork facilitated thirty-six in-depth interviews with Hong Kong and mainland Chinese fashion media personnel, including the editors, copywriters, advertising sales managers, graphic designers and photographers of twelve publications; Asian fashion bloggers, marketing personnel from global fashion conglomerates, fashion distributors and consultants from across the Asia-Pacific region. The results demonstrate the complex construction and negotiation of fashion culture(s) in Hong Kong and mainland China (in relation to the West) on the personal, organizational, industry and national levels. Whether and how far Western fashion theories can be applied to Asia’s fashion industry and media business is discussed. The results of this interdisciplinary study elucidate the evolution of the fashion media and fashion meanings in Hong Kong and mainland China since the 1980s, unveiling the unique and little-understood apparatus of Asia’s fashion industry in the global context. The “four myths of fashion” theorized by the researcher explain the conflicting imaginaries and hybridized patterns of fashion—It is at once mainstream and niche; is manifested officially and personally; is preset yet negotiable; is at once commercial and creative; comprises both Western and Asian elements; is communicated both top-down and bottom-up; is uprising or decaying at the same time; goes premium and mass in chorus. They also lead readers to look through the simultaneously constraining and enabling nature of fashion—the fashion simulacra—in the postmodern capitalist world in realistic social setting. / published_or_final_version / Sociology / Doctoral / Doctor of Philosophy

The fashion industry has a complex and often ambiguous relationship with the environment. Fast fashion has led to increased waste and harmful production methods, but innovative textile developments have led to more environmentally-friendly clothing production. In the recent decades, eco-fashion has become an evolutionary model that focuses on environmental concerns and an eco-driven consciousness. This Master of Interior Design practicum project proposes a hypothetical eco-fashion design studio in Gastown, Vancouver in order to showcase the conclusive relationship between interior design and eco-fashion. This project employs important conceptions like the body and identity in the design of Gastown Eco-Studio. These themes inform the design process, and the theoretical and methodological considerations demonstrate that the body, as an inhabitant of the built environment can provide a conceptual model for interior design and the related concept of identity can be illustrated through the process of eco-consciousness. / October 2015

Brand names in the Fashion industry are often times perceived as overpriced and unreasonable. Nevertheless, the success of well-known luxury brands in the industry has been growing domestically and internationally at a breakneck pace. Forbes publishes an annual list on the top 100 most valuable brands annually using a formula of their own making. 8 out of these 100 brands are luxury fashion brands. Why are luxury fashion brands so coveted? It can’t only be because of humans’ desires to own superior goods or even for the sake of their egos. In this paper I will delve into the hidden aspects of brand marketing, product quality, and brand imaging that factor into a brand’s success.