Towards a better understanding of fashion clothing involvement

This study is concerned with consumer involvement in fashion clothing. Amidst the consumer objects that facilitate everyday life, fashion clothing is an important and meaningful object for many consumers. In the extant consumer literature few studies have attempted to examine fashion clothing involvement, particularly in terms of its causes and outcomes. This study then focuses on building a reliable nomological network to bring a greater understanding to this facet of consumer behaviour. To achieve this, materialism and gender are examined as drivers of fashionclothinginvolvement. Recreational shopper identity, ongoing information search, market mavenism, and purchase decision involvement are explored as outcomes of fashion clothing involvement. Data were gathered using an Australian Generation Y sample resulting in 200 completed questionnaires. The results support the study’s model and its hypotheses and show that materialism and gender are significant drivers of fashion clothing involvement. While also, recreational shopper identity, ongoing information search, market mavenism and purchase decision involvement are significant outcomes of fashion clothing involvement.

Sell, give away, or donate : an exploratory study of fashion clothing disposal behaviour in two countries

This study investigates the antecedents to clothing disposal methods in two countries: Scotland and Australia. Increasing volumes of textiles are disposed of in landfill sites to the detriment of the environment. Extant research has identified the influences affecting an increased rate of purchasing and the trend to keep clothing for an ever shorter time. As such, it is imperative to examine the factors that affect consumers’ choice of clothing disposal method as limited research has been undertaken in this area of socially responsible consumption. The results of a survey administered to a sample of female consumers in the two countries identify antecedents of three forms of clothing disposal methods: selling through eBay or second-hand shops, giving away to family or friends or donating to charities. Findings show differences between the countries regarding clothing disposal behaviour. Nevertheless, general recycling behaviour was found to be the strongest predictor for donating to charities in both countries.

Examining the antecedents of recreational shopper identity

In a fashion clothing context, this study explores the relationships between materialism,gender, fashion clothing involvement and recreational shopper identity. These relationships are tested using (N = 200) Australian Generation Y consumers. Results suggest that fashion clothing involvement is significantly affected by materialism and gender, and in turn fashion clothing involvement influences recreational shopper identity. A direct relationship was also found between materialism and recreational shopper identity.

Comportamento de compra de jovens de baixa renda no varejo de vestuário

Esta pesquisa objetivou compreender o comportamento de compra de vestuário de jovens de baixa renda, residentes em três bairros periféricos da cidade de São Paulo. A metodologia utilizada baseou-se em entrevistas em profundidade e amostra de 30 jovens mulheres, de 18 a 24 anos, com renda familiar mensal entre 3 e 7 salários mínimos. Além disso, realizou-se uma simulação de compra, com a pesquisadora acompanhando a visita a uma loja escolhida pelas jovens e verificando seu comportamento de compra. A perspectiva de análise foi a do interacionismo simbólico, que busca identificar os significados simbólicos, subjacentes às escolhas das marcas e dos produtos de consumo. Os resultados da pesquisa indicam uma riqueza de significados simbólicos associados às marcas de vestuário, que envolvem as decisões e escolhas de consumo das jovens. Também mostrou que além das marcas preferidas, as jovens escolhem as lojas pela localização, sortimento de produtos, preço e atendimento.

Compósito reforçado com sisal para aplicação na moda

The objective of this research is the fabrication of a composite reinforced with dyed sisal fiber and polyester matrix for application in the fields such as, fashion, clothing, interior textiles; fashion accessories are some of the examples. For the fabrication of the composite, the sisal fibers were subjected to processes such as: chemical treatment with sodium hydroxide (NaOH) in the removal of impurities; bleaching for removing the yellowish color of the natural fiber and dyeing with direct dyes to confer the colors blue, green and orange. The search for new technologies ecologically correct has become a major concern in recent decades. Studies show that composite polymer reinforced by natural fibers is suitable for a large number of applications, and its use is advantageous in terms of economic and ecological. The dyed fibers were cut to a length of 30 mm, is used in the confection of webs. For this purpose, a web preparer by immersion, developed in the Laboratory of Chemical Textile of UFRN. The composite sheets measuring 300 x 300 x3 mm were molded by compression, with unsaturated orthophthalic polyester as matrix, and the samples in sizes 150 x 25 x 3 mm were cut with the aid of a laser machine, to be subjected to traction and flexion. The mechanical properties of traction and flexion in three points were performed in the Laboratory of metal and mechanical tests of Materials Engineering of UFRN. The resulting samples from the tests were evaluated in scanning electron microscope (SEM) at CTGas RN. On the basis of the analysis of the results from the mechanical tests, it was observed that the composite had good mechanical behavior, both in traction as in flexion. Furthermore, it was observed that in the water absorption test, the samples had a different percentage among themselves, this occurred due to the variation of density found in the fibre webs. The images of the SEM showed the failures from the manufacturing process and the adhesion of fibre/matrix. When the samples were prepared with the dyed fibers to be applied in fashion, the results were positive, and it can be concluded that the main objective of this work was achieved

A modelagem tridimensional como implemento do processo de desenvolvimento do produto de moda

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The art of dress. : An heroi-comical poem. ...

Dedication "To the toasts of Great-Britain" (p.¹[5-8]) subscribed "J.B.D." -- Caption, p.²[1]: Dress. A poem. -- "Finis" on p. 26 & 35. -- Special t-p, p. [27]: Apple-pye. A poem. By Dr. King [i.e. Leonard Welsted]. Now first printed from a correct copy. -- P.³[1]-3 is "Books lately publish'd ... All printed for E. Curll, at the Dial and Bible..."

Silk purse, sow’s ear : transforming second-Hand clothing into luxury fashion through craft practice

There is more apparel being created than ever before in history. The unsustainable production of materials and the clothing and textile waste that contributes annually to landfill, an estimated 500 000 tonnes of clothing per year in the UK (Gray, 2012) are significant issues inspiring the practice of Australian fashion designers, Carla van Lunn and Carla Binotto. While the contemporary fashion industry is built upon a production and consumption model that is younger than the industrial revolution, the traditions of costume, craft, and bodily adornment are ancient practices. Binotto and van Lunn believe that the potential for sustainable fashion practice lies outside the current industrial manufacturing model. This case study will discuss their fashion label, Maison Briz Vegas, and examine how recycling and traditional craft practices can be used to address the problem of clothing waste and offer an alternative idea of value in fashion and materials, addressing the indicative conference theme, Craft as Sustainability Activism in Practice. “Maison Briz Vegas”, a play on the notion of French luxury and the designers’ new world and sub-tropical home town, Brisbane, is an experimental and craft-based fashion label that uses second-hand cotton T-shirts and wool sweaters as primary materials to create designer fashion. The first collection, titled “The Wasteland”, was conceived and created in Paris in 2011, where designer Carla van Lunn had been living and working for several years. The collection was inspired by the precariousness of the global economy and concerns about climate change. The mountains of discarded clothing found at flea markets provided a textile resource from which van Lunn created a recycled hand-crafted fashion collection with an activist message and was shown to buyers and press during Paris Fashion Week. The label has since become a collaboration with fellow Australian designer Carla Binotto. The craft processes employed in Maison Briz Vegas’ up-cycled fashion collections include original hand block-printing, hand embroidery, quilting and patchwork. Taking an artisanal and slow approach, the designers work to create a hand touched imperfect style in a fashion market flooded with digital printing and fast mass-produced garments. The recycling extends to garment fastenings and embellishments, with discarded jar lids and bottle tops being used as buttons and within embroidery. This process transforms the material and aesthetic value of cheap and generic second-hand clothing and household waste. Maison Briz Vegas demonstrates the potential for craft and design to be an interface for environmental activism within the world of fashion. Presenting garments that are both high-design and thoughtfully recycled in a significant fashion context, such as Paris Fashion Week, Maison Briz Vegas has been able to engage a high-profile luxury fashion audience which has not traditionally considered sustainable or eco practices as relevant or desirable in themselves. The designers are studying how to apply their production model on a greater scale in order to fill commercial orders and reach a wider audience whilst maintaining the element of bespoke, limited edition, and slow hand-craft within their work.

High fashion

High Fashion is a practice-led research enquiry that examines the processes involved in producing a no-budget film of high aesthetic standards that can confidently compete in the global film festival market, and to reflect on the production techniques tested during the making of the film. The practical outcome of the research is a twenty-five minute short drama. It incorporates a large cast and crew, original designer clothing, extravagant sets, and a popular soundtrack. The thesis considers how over one hundred professionals volunteered their time, expertise, and equipment to help produce the film. The thesis also examines the many obstacles encountered while producing the film and how these were overcome. It is written for the student filmmaker as a guide to "learn by doing."

Ethical fashion : the human stories driving a fashion movement

This paper examines and compares two stories, the novel Helen Fleetwood (Elizabeth, 1841) and the film China Blue (Teddy Bear Films, 2005), in relation to the Ethical Fashion movement. In 2005, more than 50 designers from around the world took part in The Ethical Fashion Show in Paris. This movement dictates that designers ensure that their garments are produced in an ethical manner, rather than support the ‘sweatshop’ environments of some industrialists determined to make a profit at the expense of workers rights. The momentum of the Ethical Fashion movement suggests that it is possible for fashion to be ethical, desirable and profitable in the 21st century. In 1841, after extensive research, Charlotte Elizabeth Tonna (using the pseudonym Charlotte Elizabeth) began to write about the atrocities of the factory system in industrialised England. Her novel, Helen Fleetwood, is one of the earliest examples of this kind of work, providing the reader with an extensive insight into the life of English factory workers in the mid-19th century. The story is about the Widow Green and her orphan dependents who are led, through circumstance, to leave their rural home and take up employment in the cotton mills of Manchester, with the hope of having an independent existence. Instead they discover the realities of factory life – extremely long hours, unsafe conditions, poor wages and a steady decline into extreme poverty. In his film China Blue (Teddy Bear Films, 2005), director Micha X. Peled tells an alarmingly similar tale set in 21st century China. This ‘docu-drama’ (a recreation from actual interviews and diary entries) tells the story of ‘Little Jasmine’ who leaves her family’s farm to pursue an independent life in Southern China’s manufacturing district. It is not long before the realities of modern factory life are revealed to the teenage ‘heroine’ – crowded dormitories, long working hours, arbitrary fines and wages that do not compare with those of workers in the Western world. While much of the human story remains unchanged, there have been significant improvements in technology and safety in the last 165 years that result in the reality that not all clothing manufacture is performed in ‘sweatshop’ conditions. After a recent visit to a manufacturing plant in China, consultation with peers in the industry and having worked in the Australian fashion industry for many years, the author compares these stories with her own experiences.