Features of Digitalization Processes in Fashion Industry

The purpose of the research is to reveal the features of digitalization processes in the field of the fashion industry, to determine the main directions of digital technologies development and their direct impact on the fashion environment. Research methodology. The choice of research methods is determined by the purpose of the research, in particular, a systematic approach to the study of fashion history, digital technologies, future trends in the creative industry, as well as analysis of existing changes in the fashion industry. Scientific novelty. The issue of the fashion industry development under the influence of digital technologies is raised. Conclusions. Therefore, to manage the “fashion brands of the future”, you need not only to effectively manage your team and focus on profit but also to be flexible, socially responsible and quickly respond to new digital trends and use them in your work. Thus, the era of digitalization forces our world to move to a new level of development. The fashion industry, as one of the most flexible and profitable areas, must adopt new digital technologies as quickly as possible and apply modern and effective management methods that will be expedient and effective.

Practices of cultural collectivity: Style activism, Miromoda and Māori fashion in Aotearoa New Zealand

Familiar narratives of fashion history in Aotearoa New Zealand recount the successes of Pākehā (New Zealand European) designers who have forged a distinctive fashion industry at the edge of the world. This narrative overlooks the history of Māori fashion cultures, including the role of ‘style activism’ enacted by political figures such as Whetu Tirikatene-Sullivan and collectives such as the Pacific Sisters who advanced the status of Māori and Pasifika design in the twentieth century. It also ignores the changing nature of the New Zealand fashion industry today. One of the most significant recent initiatives to alter perceptions of fashion in Aotearoa New Zealand has been Miromoda, the Indigenous Māori Fashion Apparel Board (IMFAB), established in 2008. By championing the work of Māori fashion designers and prioritizing the values of te ao Māori (the Māori world-view), Miromoda is successfully contributing to the ‘decolonization’ of the New Zealand fashion industry. This article foregrounds practices of cultural collectivity, including that of style activists such as Tirikatene-Sullivan and the Pacific Sisters, and Māori fashion designers such as Kiri Nathan, Tessa Lont (Lontessa) and Bobby Campbell Luke (Campbell Luke), to explore the expansion of a more affirmative fashion future in Aotearoa New Zealand.

Back to the future: Rewriting fashion history from the Cook Islands

This article engages in debates about the European and capitalist origins of the fashion system and aims to decentre this history from a Pacific perspective. Taking fashion to be a process of novel and transformative display, the article reconstructs a Pacific fashion system that innovatively presents local aesthetics, status and affiliation and re-presents social, economic and political identities and agendas. It examines present-day and historical accounts of clothing and dress in the Cook Islands, starting from a shirt described in 1896; it then tracks forward to contemporary logo T-shirts and back again to suggest an alternate fashion trajectory of bodily self-representation, collective display and distinction. Fashion emerges as an anticipatory social force that produces a multiplicity of meanings that move unpredictably across time, place and systems of representation.

Shaping Toronto: female economy and agency in the corset industry, 1871-1914

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

Shaping Toronto: female economy and agency in the corset industry, 1871-1914

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

Análise da moda feminina nas décadas de 70 e 80, do século XX, baseada nos cartazes de cinema

Fashion and clothing are ways of communication. It is universal, found in almost everything that surrounds us. In cinema, fashion stands out particularly through costume design. Costume design unites fashion design with cinema, there has always been a mutual influence.In this paper, we intend to explore and analyse the links between female fashion, in the 1970s and in the 1980s, and the power conquered by women during this period, through the analysis of movie posters. This proposal falls into the art group and fits into the theme of Fashion History and Women’s Empowerment.Following the advancement of feminist mentalities in the twentieth century, changes in this nucleus began to focus on women’s liberation, especially in the 1960s, 1970s, and 1980s. Women’s struggle was not only centred on domestic liberation but also on the freedom of wearing what pleased them best, allying comfort and modernity.This study intends to analyse the connection between women’s fashion and female power using the posters of the films of the epochs, evaluating the feminine presence and the force that transmits. This research aims to praise and uphold the preponderance of fashion and clothing in this era (70’s e 80’s) of Female Empowerment.

Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists and Fashion Designers

Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory through a Eurocentric prism in their desire to rewrite fashion history. Fashion designers drew ideas from China, treating it as a source of inspiration to create their own original designs. For some of them, such as Yves Saint Laurent, it was a China of their imagination. In certain cases, they made use of porcelain designs or dragon motifs in their own collections, for instance, in designs by Cavalli and Ford. The incorporation of Chinese garments into Western collections has also become visible.