Reflections around artefacts : using a deliberative approach to teaching reflective practices in fashion studies

While requiring students to think reflectively is a desirable teaching goal, it is often fraught with complexity and is sometimes poorly implemented in higher education. In this paper, we describe an approach to academic reflective practices that fitted a design subject in fashion education and was perceived as effective in enhancing student learning outcomes. In many design-based disciplines, it is essential to evaluate, through a reflective lens, the quality of tangible design outcomes - referred to here as artefacts. Fashion studio based practice (unlike many other theory based disciplines)requires an artefact to be viewed in order to initiate the reflective process. This reflection is not solely limited to reflective writing; the reflection happens through sight, touch and other non-traditional approaches. Fashion students were asked to reflect before, during and after the development of an artefact. Through a variety of media, a review of the first garment prototype - called a Sample Review - occurred. The reflective practices of students during the Sample Review provided a valuable insight into their own learning, as well as a valid assessment indicator for the lecturer. It also mirrored industry practices for design evaluation. We believe that this deliberative approach, characterised by artefact-prompted reflection, has wide applicability across undergraduate courses in a variety of discipline areas.

Fashion, the body and technology : tracing early 20th century techno-utopian ideas, aesthetics and impulses in 21st century wearable technology

‘Wearable technology’, or the use of specialist technology in garments, is promoted by the electronics industry as the next frontier of fashion. However the story of wearable technology’s relationship with fashion begins neither with the development of miniaturised computers in the 1970s nor with sophisticated ‘smart textiles’ of the twenty-first century, despite what much of the rhetoric suggests. This study examines wearable technology against a longer history of fashion, highlighted by the influential techno-sartorial experiments of a group of early twentieth century avant-gardes including Italian Futurists Giacomo Balla and F.T. Marinetti, Russian Constructivists Varvara Stepanova and Liubov Popova, and Paris-based Cubist, Sonia Delaunay. Through the interdisciplinary framework of fashion studies, the thesis provides a fuller picture of wearable technology framed by the idea of utopia. Using comparative analysis, and applying the theoretical formulations of Fredric Jameson, Louis Marin and Michael Carter, the thesis traces the appearance of three techno-utopian themes from their origins in the machine age experiments of Balla, Marinetti, Stepanova, Popova and Delaunay to their twenty-first century reappearance in a dozen wearable technology projects. By exploring the central thesis that contemporary wearable technology resurrects the techno-utopian ideas and expressions of the early twentieth century, the study concludes that the abiding utopian impetus to embed technology in the aesthetics (prints, silhouettes, and fabrication) and functionality of fashion is to unify subject, society and environment under a totalising technological order.

Nourishing or polluting : redefining the role of waste in the fashion system

Waste is intrinsic to the fashion system. Fashion is predicated on built-in obsolescence, and as such outmoded garments are rapidly discarded to charity shops or landfill. However, the story of fashion is also one of abundance and extravagance in design ideas. Every season there are new design details – prints, embroidery, embellishments, shapes and textures. This excess of ideas is in itself another form of waste, albeit one that is culturally nourishing. The grave of a fashion garment may also be the grave of a season’s research and creativity. This paper compares the tangible waste of the industry with its intangible waste, namely fashion’s creativity and cultural excess. Fashion’s excess and abundance of trends and ideas makes any move to curb the environmental impact difficult. For all practitioners of fashion – whether designers or consumers – the waste and excess inherent in the fashion system is a difficult ethical terrain to negotiate. However, inverting the wasteful phases of the production cycle can help reframe waste from pollution to a source of nourishment for future practice. While creative excesses of designers may be ‘wasted’ after a season, fashion styles and tropes are recycled and reinvented, with the once passé styles and design ideas from previous years revalorized and returned into the fashion system. Similarly, material garments acquire new value through entering or re-entering the second hand or vintage markets. Design processes can utilise pre or post-consumer textile waste, or eliminate waste through design. In these processes, waste becomes the primary source of nourishment for future fashion cycles.

Fashion meets journalism : mapping and evaluating Australian fashion media

This study demonstrates how to study fashion journalism from the point of view, that it is its own field of journalism, akin to other journalism beats such as politics, sports and health. There is scope here for comment on the co-evolution of fashion and journalism, leading to ‘fashion journalism’ developing as a distinct field of study in its own right. This research contributes more generally to the field of media and cultural studies, by developing the threepart producer/text/reader model, which is the standard ‘media studies’ analytical framework. The study of fashion media from a cultural studies perspective acknowledges that cultural studies has pioneered the formal study of both journalism and fashion, for instance in studies of women’s magazines; but it has not brought the two areas together sufficiently. What little work has been done, however, has allowed theorists to explore how magazines promote feminism and form culture, which acts as a step in concreting fashion’s importance theoretically. This thesis has contributed to cultural studies by showing the relationship between the corporate industry, of both fashion and media (producer), and the active audience (reader) can be rethought and brought up to date for the more interactive era of the 21st century.

The knock-on from the knock-off : recent shifts within Australian mass market fashion design practice

Australia's mass market fashion labels have traditionally benefitted from their peripheral location to the world's fashion centres. Operating a season behind, Australian mass market designers and buyers were well-placed to watch trends play out overseas before testing them in the Australian marketplace. For this reason, often a designer's role was to source and oversee the manufacture of 'knock-offs', or close copies of northern hemisphere mass market garments. Both Weller and Walsh have commented on this practice.12 The knock-on effect from this continues to be a cautious, derivative fashion sensibility within Australian mass market fashion design, where any new trend or product is first tested and proved overseas months earlier. However, there is evidence that this is changing. The rapid online dissemination of global fashion trends, coupled with the Australian consumer’s willingness to shop online, has meant that the ‘knock-off’ is less viable. For this reason, a number of mass market companies are moving away from the practice of direct sourcing and are developing product in-house under a northern hemisphere model. This shift is also witnessed in the trend for mass market companies to develop collections in partnership with independent Australian designers. This paper explores the current and potential effects of these shifts within Australian mass market design practice, and discusses how they may impact on both consumers and on the wider culture of Australian fashion.

Fashion system Shanghai : the advent of a new gatekeeper

The term fashion system describes inter-relationships between production and consumption illustrating how the production of fashion is a collective activity. For instance, Yuniya Kawamura notes systems for the production of fashion differ around the globe and are subject to constant change, and Jennifer Craik draws attention to an ‘array of competing and intermeshing systems cutting across western and non-western cultures. In China, Shanghai’s nascent fashion system seeks to emulate the Eurocentric system of Fashion Weeks and industry support groups. It promises emergent designers a platform for global competition, yet there are tensions from within. Interaction with a fashion system inevitably means becoming validated or legitimised. Legitimisation in turn depends upon gatekeepers who make aesthetic judgments about the status, quality and cultural value of a designers work. Notwithstanding the proliferation of fashion media, in Shanghai a new gatekeeper has arrived, seeking to filter authenticity from artifice, offering truth in a fashion market saturated with fakery and the hollowness of foreign consumptive practice, and providing a place of sanctuary for Chinese fashion design. Thus this paper discusses how new agencies are allowing designers in Shanghai greater control over their brand image while creating novel opportunities for promotion and sales. It explores why designers choose this new model and provides new knowledge of the curation of fashion by these gatekeepers.

How do Chinese fashion designers become global fashion leaders? A new perspective on legitimisation in China’s fashion system

The term fashion system describes inter-relationships between production and consumption, illustrating how the production of fashion is a collective activity. For instance, Yuniya Kawamura (2011) notes systems for the production of fashion differ around the globe and are subject to constant change, and Jennifer Craik (1994, 6) draws attention to an ‘array of competing and intermeshing systems cutting across western and non-western cultures. In China, Shanghai’s nascent fashion system seeks to emulate the Eurocentric system of Fashion Weeks and industry support groups. It promises designers a platform for global competition, yet there are tensions from within. Interaction with a fashion system inevitably means becoming validated or legitimised. Legitimisation in turn depends upon gatekeepers who make aesthetic judgments about the status, quality, and cultural value of a designers work (Becker 2008). My paper offers a new perspective on legitimisation that is drawn mainly from my PhD research. I argue that some Chinese fashion designers are on the path to becoming global fashion designers because they have embraced a global aesthetic that resonates with the human condition, rather than the manufactured authenticity of a Eurocentric fashion system that perpetuates endless consumption. In this way, they are able to ‘self-legitimise’. I contend these designers are ‘designers for humans’, because they are able to look beyond the mythology of fashion brands, and the Eurocentric fashion system, where they explore the tensions of man and culture in their practice. Furthermore, their design ethos pursues beauty, truth and harmony in the Chinese philosophical sense, as well as incorporating financial return in a process that is still enacted through a fashion system. Accordingly, cultural tradition, heritage and modernity, while still valuable, have less impact on their practice.

Fashion meets journalism : mapping and evaluating Australian fashion journalism

Fashion journalism can be understood as a complex, inter-dependent set of professional practices that have arisen in a variety of media at the intersection of fashion and journalism. This thesis, Fashion Meets Journalism: Mapping and Evaluating Australian Fashion Journalism, answers the question, 'What is Australian fashion journalism?' in three stages: First, it maps the extent of fashion journalism across media in Australia to locate the field and focus on the sites of fashion journalism; second, it foregrounds practices of the journalism branch, evaluating how and why the field is pitted against other types of journalism when they share an inter-dependent set of professional practices. The opinions of leading industry producers are also sought regarding the matter. Then, considering the current position of fashion journalism, implications for fashion media and journalism are explored in order to improve the visibility of fashion journalism and solidify it as a professional practice.

Zara: Marketing in Fast Fashion: A case-study

Zara was founded in 1975 by Amancio Ortega Gaona, soon becoming the largest and most successful chain of the Galician group Inditex (Industria de Diseño Textil) and a pioneer of the rising fashion category of Fast Fashion. Its innovative vertically-integrated strategies, combined with its emphasis on quality and demand-based offer have shaped the world of fashion and brought forth many questions on its future sustainability and growth. Zara has always relied on its store network for advertising its product offer; allowing its garments to “speak for themselves”. With the continued pressure felt in the industry, management has pressed some concerns about future company growth and creative, innovating solutions must be implemented to guarantee Zara’s future growth. The case-study narrative focuses on these issues and leaves readers with an open question regarding what decision to implement.

Fashionline: CSR case of a U.K. fashion retailer

This paper presents findings from a corporate social responsibility (CSR) case-study of a UK fashion retailer informed through 22 multi-level internal and 5 external semi-structured interviews. Our research explores the relationship between various stakeholders and their perceptions of CSR issues. Sixteen themes emerge. We find disparity in CSR perceptions at different levels of organization and in views of consumers. Our recommendations are that the UK fashion retailer needs to – better understand normative purpose of CSR and in doing so balance social and environmental factors more equally; engage more widely at an early stage with broader stakeholders (global supply chain; consumers, employees, local populations, regulators, industry players); and better communicate (at different levels internally) along with integrate (external policy makers and with industry) design and implementation of CSR strategies. The authors conclude a gap remains for better CSR frameworks for the UK fashion retailer.

Creating meanings, changing contexts: contested sustainability in the Brazilian beef industry

O objetivo desta pesquisa é compreender de que forma as organizações moldam seu ambiente, analisando por que algumas práticas tornam-se reconhecidas como ‘sustentáveis’ na indústria de carne bovina brasileira. O estudo dialoga com a literatura de institucionalismo organizacional ao apontar a necessidade de considerar a política (i.e. as negociações entre atores) e significados, a fim de entender como a estabilidade e a mudança institucional ocorrem em um contexto situado (i.e. em um tempo e espaço específicos). A pesquisa conclui que os entendimentos sobre o que poderia ser reconhecido como ‘sustentabilidade’ são o resultado de atores moldando o seu ambiente por meio de ações e interações que produzem significados. Seguindo uma abordagem de hegemonia, essas disputas não são apenas entre os atores que procuram vantagens recursivas, mas também procuram defender ou atacar as lógicas sociais que apoiam a posição dominante dos atores. Além disso, os atores exercem sua agência sobre as condições no presente (i.e. contexto situado), com base em um passado herdado e com o objetivo de produzir um futuro que eles imaginam. Para analisar tais processos uma abordagem de hegemonia entre atores e lógicas sociais foi desenvolvida para destacar a ordem de negociação, uma arena em que os atores lutam pela hegemonia. Como resultado de tais negociações, uma questão focal emerge, influenciando o discurso e interesses dos atores, bem como justificando as iniciativas, programas e tecnologias sobre tal questão; construindo, portanto, o consenso. Baseando-se em Realismo Crítico e Análise Crítica do Discurso, a pesquisa desenvolveu um estudo de caso longitudinal suportado por documentos públicos e confidenciais e entrevistas com especialistas, para examinar o caminho da sustentabilidade na indústria de carne bovina brasileira. Identificou-se três contextos diferentes para agência em relação à sustentabilidade. Enquanto no primeiro verifica-se um silêncio sobre práticas de sustentabilidade, o segundo enfatiza a emergência do desmatamento da Amazônia como uma questão focal, devido à agência do Greenpeace e MPF que força a indústria a desenvolver um sistema de monitoramento que rastreie seus fornecedores de gado de modo a evitar compra de suprimentos associadas ao desmatamento da Amazônia, dentre outras atividades ilegais. Finalmente, durante o terceiro contexto, o sistema de monitoramento permite que indústria de carne bovina se aproprie da sustentabilidade, assim o setor da carne passa a construir a sua legitimidade para influenciar sobre os riscos e oportunidades associadas ao contexto da sustentabilidade. Em termos de lógicas sociais, o desmatamento na Amazônia foi denunciado como um problema ambiental, nesta indústria, ancorado em algumas características da lógica do capitalismo, como a gestão de riscos, inovação e aumento da produtividade, cadeia de fornecimento global e governança. Embora este ataque questione a racionalidade da maximização racional lucro, impondo restrições ambientais para o comportamento das empresas, a solução desenvolvida é também ancorada sobre as mesmas características do capitalismo empregadas para atacá-lo. Como consequência, uma mudança gradual é ilustrada por uma transformação na ‘eficiência quantitativa’ do capitalismo, o aumento da produtividade devido à mudança da proporção de recursos consumidos para produção e à preocupação em evitar o desmatamento da Amazônia. No entanto, a ‘eficiência qualitativa’ do capitalismo é preservada uma vez que os grupos dominantes no poder ainda estão controlando os meios de produção e os recursos a eles associados (i.e. dinheiro, poder e legitimidade). Uma vez que estes processos de negociações são mediados pela racionalidade de se evitar risco aos negócios, consequentemente, a maximização do lucro, o núcleo duro da lógica do capitalismo é preservado. Portanto, os grupos dominantes mantêm sua hegemonia.

Ecommerce as internationalization strategy: an exploratory study based on premium fashion brazilian brands: case study of farfetch

As stated by Hoffmann and Coste-Manière (2012) “The web is a mass medium that contrast completely with the traditional codes of exclusivity associated with the luxury industry, and has long been simply rejected by the luxury industry for being an illegitimate distribution channel.” Meanwhile this market presents an incomparable pace of growth and is gradually changing the existing retailing business model and companies must be aware of this change and capable to adapt to it. The internet and cross-border sales already changed the competition throughout retailing and it will increase even more, so companies must be ready to face it. Internet has shown its great opportunity for all markets, although luxury/premium market is not yet taking the proper advantage of its potential, but the necessity to be an omnichannel business strategy is growing. This paper presents an exploratory research based on a case study of how premium fashion Brazilian brands are using Farfetch, e-commerce, as an entry market strategy and how this affects them. The research question of this study is: How is Farfetch helping on the internationalization of Brazilian premium fashion brands?, and in order to answer it was conducted an in-depth interview with the Brazilian head of business development of Farfetch, apart an extensive secondary data research. As expected the study found a list of trade-offs of using an e-commerce, luxury specialized, with a marketplace approach to the brands willing to internationalize. As stated by Altagamma and McKinsey (2015) study “[...] luxury brands have no choice but to embrace the digital era and become truly omnichannel. This will require them a radical rethinking of both their customer experience of their consumer engagement strategy.” Looking either from the Farfetch point of view, trying to understand why they offer this opportunity to the brands, or also from the brand side if this is a manageable approach. This study presents a contribution for both sides, trying to give tools to the brands on understanding the internationalization reasons and approach, as well as explaining Farfetch business model, and the advantages it can bring to them, at the same time of a general market trend analysis for Farfecth.

Vertical integration and information sharing — an empirical investigation in the German apparel industry

Despite the astounding success of the fast fashion retailers, the management practices leading to these results have not been subject to extensive research so far. Given this background, we analyze the impact of information sharing and vertical integration on the performance of 51 German apparel companies. We find that the positive impact of vertical integration is mediated by information sharing, i.e. that the ability to improve the information flow is a key success factor of vertically integrated apparel supply chains. Thus, the success of an expansion strategy based on vertical integration critically depends on effective ways to share logistical information.

The business of fashion in the nineteenth and twentieth centuries

Fashion is a complex social and cultural phenomenon with strong economic implications. Historical analysis reveals that the mechanisms of creating and spreading fashion have not remained constant, but have varied according to social structures, forms of producing and distributing apparel and social media, while the level of influence of fashion on society has increased in line with economic development. This special issue of Investigaciones de Historia Económica-Economic History Research is dedicated to fashion as an economic phenomenon in the contemporary period. The four articles which make it up show the plurality of the subject areas, sources and methodological approaches in the current research on this topic.