Advances in Fashion and Design Research II

In today’s society, sight is the most relevant sense, as we rely heavily on it to gather information from the external environment (Davidoff 2001). However, given the high rate of ageing of the population, we often speak of users with visual impairment (Baker et al. 2002). The world of fashion is critical for the visually impaired user, namely in his socialization process, however, since we live in a contemporary world that manifests itself in a predominantly visual way, there are some communicational barriers, which make the ability to guide the visually impaired user to the act of buying fashion products be impaired (Schneider et al. 2017). Thus, starting from this basic principle that the world of fashion is extremely important for the visually impaired user, it should be democratized and inclusive. All communicational changes to be developed must always be accompanied by accessibility and value. Therefore, this article seeks to disseminate and present what are the main problems faced by the user in the process of buying fashion products, to potentiate future research regarding the development of design strategies to overcome the problems presented.

As a result of AI, AR, and VR technologies, consumers can have a multisensory, entertainment-rich experience, which will play a crucial role in the future of fashion, given the current situation - after the COVID-19 pandemic and the economic and climate crisis. For this sector of activity, these technologies will prove to be a profitable investment, as they will provide valuable insight into consumer modifications and fragilities occurring worldwide in different countries - resulting in numerous advantages in product production, communication, marketing, storage, and distribution. Accordingly, a qualitative and quantitative research project was undertaken to examine Portuguese companies and consumers in this sector. These findings indicate that there is little implementation and development of these technologies in Portuguese companies and little knowledge about them among Portuguese consumers. These tools are still largely underutilized in sales and communication channels. Lastly, the advantages and disadvantages of these technological tools are discussed both during the buying process and as they relate to companies and retailers.

The presented project explores the interconnection between fashion, performance art, and new technologies, whose ultimate goal is to develop a new presentation model of a fashion show. The ephemerality of a fashion show becomes a crucial aspect to consider since the live experience is often what makes a show remarkable and memorable. However, the inclusion of technology, in light, sound, video, and other media, can also help to transmit a stronger, emotional message, with more interaction between the audience and the presentation that is taking place, making the moment more impactful and unforgettable.The interdisciplinary approach is important to help reach answers that meet the project’s main concept. By being connected with the role of the spectator during a fashion show, the experience, and emotions are felt during the show. Also presenting a creative methodological line (Fashion Thinking) to create new ideas and approaches for the project proposed.

Women with breast cancer have to endure consequences on their body image mainly due to treatments, which, in turn, point out the disease, making it social. Thus, this research suggests that fashion can be an aid to this group’s body image and, because of that, had as its main objective to analyze how clothing and fashion elements can serve as an aid to women with cancer. This study is applied research, qualitative in regard to the problem and exploratory in relation to the objectives. Bibliographical and documentary research were carried out, in addition to data collection through semi-structured interviews with women with breast cancer and with specialists working in this environment. Using the data obtained through this study, it was possible to observe the difficulties experienced by the patients and how the disease and treatments affect identity and interfere with self-esteem. It was also identified how fashion is present in this context, serving as an aid to the sick women, thus reducing the physical, emotional and social consequences and allowing identity, self-esteem and body image rebuilding.

Humanity has faced many epidemics and some pandemics, all with some common elements among them. What made the last pandemic different from the others – COVID-19 in the years 2020 and 2021 – was the fact that we had internet spread across most of the affected territories. For a while, we changed our lifestyle and retreated to the domestic space. Some work modalities, previously exercised in person, migrated to the domestic space. If the house and the street are symbolic spaces, and women, by conquering the domains of the street, have become consumers of fashion and clothing, what change in dressing practices in everyday life can be observed in times of online interactions? We will see how interactions (although public), but mediated by videoconferencing platforms, generated a new way of thinking and consuming fashion and clothing, especially among Brazilian women.

The paper proposes an analysis of the symbolic importance of adornments in insular traditional costumes. Garments, being contextualised on a specific time and space, constitute a relevant cultural element for the definition of individual and collective identity. Our study draws on this premise for a reflection on the traditional female costumes of the regions of the Azores, Madeira and Corsica. We intend to consider these costumes in relation to the adornments (or the lack of them) and to create new visual objects aligned with the identitarian legacy of these archipelagos, as well as with their environmental and endogenous resources. For this purpose, we start by exploring the nexus between culture, traditional costume, and contemporary jewellery. The jewels were conceived with the aim of revitalising the traditional costumes as well as to disseminate and promote the cultural legacy to which they belong. The adornments will connect the garments, the peoples and the regions here considered, besides expanding the knowledge of their identity abroad, which will increase their reputation and relevance.

From a comprehensive perspective and in the context of celebrating artificial intelligence, this article seeks to reflect on the relationship between authorship and style in intertwining among body, fashion, and technology itself. Artificial intelligence has helped the production of the most varied images, including images of virtual models. In general, virtual models wear clothes created by designers so far and make it much easier and less expensive to produce a catalog or even a complete advertising campaign for a new collection. This whole process and all these dematerialization culminate with the arrival of ChatGPT in November 2022. ChatGPT is a virtual assistant that operates with artificial intelligence, developed by OpenAI. In the theoretical-conceptual arc, authors such as Sennett, Pareyson, Merleau-Ponty, Rocha, among others, will be mobilized.

This article discusses the philosophy that portrays beauty and how each philosopher theorized beauty in their narratives, namely Plato, Aristotle and Kant. The essay aims to report how beauty was initially described and what were the aspects that transformed these thoughts into a science that shaped aesthetics as far as we know it. The research moves on to the philosophy of the 20th century with authors such as Gilles Lipovetsky and Luc Ferry who were instrumental in understanding the progressive affirmation of Beauty through difference and the expression of the self. The analysis is of an investigative and exploratory nature accentuated in the process of analysis of relevant literature around the proposed theme.

Future Studies and Trends Studies operate various concepts and terminologies rooted in a prospective basis of action. While Trend Studies look from the past to the present in search of patterns, Future Studies focus and aim at scenarios and possibilities for narratives to come. The convergence of areas regarding the use of ‘trend’ terminology has been explored in different ways in the literature. This requires a clarification of this concept, which is addressed in this text with the support of a semi-systematic review, to build an operational definition of trend. This article seeks to explore, in the first phase, the approach to the concept of trend. In the second part, we develop a systematic literature review to define the concept and present an operational definition in the last part. The contributions of this research are related to the definition of the term “trend” and the categorization of authors who operates it.

This article seeks to reflect on the clothes of the Queto Candomblé house, Axé Ilê Obá. The objective is to investigate the garments present since the foundation of the terreiro, throughout the succession of its three religious’ leaders: Father Caio of Xangô (1950–1985); Mother Sylvia of Oxalá (1986–2014); and Mother Paula of Iansã (2015-) and identify whether there are aesthetic changes in the clothing worn in the house during the tenure of each religious leader. For a comparative study of the attire in the three moments of the terreiro, photographs from the periods of Father Caio and Mother Sylvia were collected through researchers written by members of the terreiro (especially Mother Sylvia’s book, O perfil do Aché Ile Obá, 1980), as well as the photographic collection of Axé Ilê Obá, which was consulted. To analyze the current attire, in addition to field research conducted since 2017, interviews were also conducted with clothing manufacturers that produce garments for the terreiro, images were requested from the official photographers of the house, and an interview was conducted with Mother Paula. The importance of analyzing the changes in these moments is to verify the visual impact that the religious leaders in Candomblé promote in the attire of everyone, according to their personal taste, the divinity of this religious leader, and their personal relationships with the clothing producers. Thus, we understand how these leaders of a Candomblé act as dress code guide for the Candomblé house, impacting this market of Candomblé garments, the axós.

The present article was extracted from the master’s dissertation in fashion design titled “Uma análise sobre o Traje Acadêmico Português – Um desenvolvimento Projetual,” which focuses on the academic attire of the University of Beira Interior-UBI. The overall objective is to compose a sequence of three articles, with two already published. The first article addressed the history of the attire at the University of Aveiro-UA, and the second article discussed the project that resulted in the creation of an informal summer attire for performances by the members of the Tuna of Aveiro, which was the outcome of the master’s dissertation. The specific objective of this third article was to provide the historical background of the UBI attire through oral accounts and to draw a brief comparison between the design of the UBI attire and the design of the UC attire, using Peirce’s semiotics as a tool for analysis and understanding of the causality behind the conception of these attires. The methodology for this research consisted of: 1) a literature review, 2) a semi-structured interview, 3) consultation of ethnographic resources for support, and 4) the use of Charles S. Peirce’s semiotics, which brings the viewer closer to interpreting the meanings in fashion and tradition.

This study is the result of an outreach project between the Civil Municipal Guard of Londrina (GCML) and the Fashion Design undergraduate program UTFPR-AP. The project was created after GCML asked the Fashion Design program to help improve the current uniform model, which has countless wearability, fit, pattern, comfort, and usability problems. To propose a new uniform model, the project team encompassing agents, professors, and students developed various actions over 2 years, especially developing an anthropometric table adequate to the municipal guard agents, studying textile material adequate for the uniform; ergonomic analysis of uniform wearer’s needs; developing datasheets adequate to the production of the uniforms; proposing adjustments in the uniform patterns; developing a technical design specifically for uniform production; suggesting models to update the current uniform of agents of the Municipal of Londrina; training agents to identify problems in the future uniforms acquired for the Guard. Hence, the article presents the uniform pattern created in the project, which is only one of the countless actions carried out in the project.

The paper aims to describe the research on design for the enhancement of territorial tangible and intangible capital through cases study that experiment sustainable processes, shared with different actors, for the development of new products in the fashion field.The resilience of Made in Italy productions, such a strategic sector for the country system, must be supported through strategies capable of combining technologies, advanced innovation (both financial and technological) and humanities (social and cultural values and innovations).The latter characterize Made in Italy in a meaningful way, which conveys the complex Italian identity condensed in the high quality of its productions to the world.The paper reports cases study, developed in OFFICINA Vanvitelli HUB - research infrastructure dedicated to made in Italy - which are part of the sustainable transition context of the tanning sector and of the cosmetic sector. The first experimentation, starting from free chrome tanning, was carried out through the collaboration of Made in Italy companies and with the projects of 3D printing processing techniques. The second experimentation, moves in circular economy, using bio-manufacturing of materials deriving from by-products or agricultural and biological products for define skincare cosmetic lines.

This article brings the partial result of the dissertation of the Postgraduate Program in Design of Federal University of Pernambuco, in the line of research Design, Ergonomics and Technology, which aims to propose improvements for professional clothing in outdoor environments, in order to promote comfort and well-being to the cycle couriers of the Brazilian Company of Posts and Telegraphs (ECT/Correios) in the city of Recife - Pernambuco. The problem analyzed was the relationship between the mechanical properties of the textile material selected for the uniform and the ergonomic problems related to the task of the cycle couriers of the postal company, through ergonomic appreciation and laboratory textile analyses. The research procedures were based on some steps of the OIKOS (Martins, 2019) and SHTM (Moraes e Mont’Alvão, 2012) methodologies. As a result, a strong relationship was verified between the mechanical properties of the fabric used in the uniform and the ergonomic problems regarding displacement and interface, as well as physical-environmental, natural and chemical problems, and problems related to occupational accidents, configuring itself as a possible point of contribution of design regarding the selection of materials for wearable pieces, specifically for uniforms for use in outdoor environments with active mobility of the users.

This article aims to present the results of the investigation of the perception of the comfort properties of sports caps through wear trial in real weather conditions in an uncontrolled environment. The sensations of general comfort, temperature, humidity and the pressure that ten samples of sports caps exert on the head of ten volunteers during subjective assessment were evaluated. The two-way ANOVA statistical tool was used for statistical data analysis. Volunteers assigned very low averages to the affective ratings of the sports cap samples. This may indicate the volunteers’ difficulty in judging the attributes when the caps are worn on the head. In future research, it is intended to compare the data obtained in this study with the data obtained in tests of use carried out in an environment of controlled temperature and humidity.

This design research proposes, through cooperation between the private sector (industry) and the public sector (university), new furniture and cladding solutions to integrate the urban environment. It seeks to raise awareness on the reuse of industrial waste originating from mixed plastics and foundry sands, promoting collection, valorisation, and transformation. It potentiates sustainable advances that allow contributing to a Circular Economy, through the premise of safeguarding natural resources, as well as environmental ones. For the development of the proposal, a design methodology that combines the Double Diamond model with the Circular Design model is applied. From this conjugation, sustainability is explored as an intrinsic condition of the product, capable of producing added value through design and innovation, minimising the impact of industrial waste on the environment. Simultaneously, the modular concept was explored, that is the application of a single component in the development of several solutions, thus reducing production costs and increasing the range of design possibilities. With this approach, we intend to contribute to a change in the design paradigms, through sustainable and environmentally friendly production techniques. The results obtained contributed to the awareness of designers, architects, or engineers, allowing the identification of new ways and contributions of design in industrial customs and traditions, as well as, transferring technical-productive knowledge about the positive impact of the reuse of industrial waste in the design of new products.

Considering the need for building a system of classification that considers the different domains of knowledge in the clothing pattern cutting field, this qualitative and exploratory research aimed to map the universe of elements that are related and their level of extension in the context of pattern cutting books. We present an analysis regarding how contents from this field of knowledge are being addressed in the bibliographies used in pattern cutting courses in Brazil, either related to their topics, focus, or content structure. The results evidence the need of applying classification methods, proposed by theoretical basis from the Information Science field, aimed at processes of organization and recovery of information in pattern cutting, above all, to facilitate the process of knowledge building in this field of fashion design.

The research discusses aspects linked to the configuration of the shape and to textile analysis in the context of fashion clothing project, in the academic scope. It contemplates the study of fitting alterations generated by various materials, in which drapeability, evaluated by visual estimative, is identified as a characteristic that relevantly influences the textile behavior in silhouette configuration. As final result, we propose the ADeQMat Model that, inserted in the selection of materials phase, allows guiding the sequencing and interaction of project actions linked to tridimensional modeling to enable a more assertive choice of the material to be defined for the development of products.

As a result of the projected growth of the global fashion industry, and the fact that the majority of the world’s population is affiliated with a religious faith, the present study aimed to assess the state of the art on the intersections of fashion, religion and consumer behaviour. This study is done in order to help guide the strategies of marketers and theorists on this subject, which despite its significance is still relatively new in scientific literature, therefore including limited research. This literature review touches on the difference between religion and religiosity, and how it can be a moderating factor in consumer behaviour, focusing on the influence of Christian religiosity in apparel shopping behaviour and the purchase intentions of fashion products by Muslim consumers. This study also investigates the impact of religiosity on pro-environmental and sustainable fashion attitudes and how different faiths see this relationship. Similarly, it was also concluded that while most faiths give great emphasis to modesty and, therefore, its incompatibility with status consumption, religiosity has very little influence on the consumption of luxury fashion, as consumers did not see a connection between consuming luxury goods and their faith.

This study analyses the values perceived by consumers of luxury fashion before the purchase option based on a literature review. To frame this subject, the study begins by exploring the concept of luxury from the perspective of authors with works of reference in the area to offer distinct or complementary approaches to each other. It is followed by an analysis of the luxury fashion target audience through the analysis of its main characteristics, whose focus is based on three consumer groups: millennials, Generation Z, and Generation X. Finally, this study develops a flowchart based on luxury fashion literature and created from several theoretical approaches, thus contributing to the comprehension of consumer motivations and perceptions of value in luxury fashion.

The bridal gown is one of the most highly symbolic objects in the contemporary wedding market that is all-encompasses with key issues influencing consumer behaviour. The study reviewed factors that influences the consumption of bridal gowns in Ghana. A quantitative research approach and analysis of results is employed as depicted in my Ph.D. thesis. This study is an extract of the explorative phase of my Ph.D. thesis that extensively reviewed related literature on practices and consumption of bridal gowns to assess and affirm the current evidence that pertains in designing for longevity in the bridal gown industry. The population for the study is 300 married and yet-to-be married couples. Convenient sampling technique was used to select 230 out of 300 representing 76.7% response rate. The study concluded that influencing factors were apparent and deciding factors that drive consumers’ consumption of bridal gown in Ghana. This implying that, manufacturers and marketers could introduce product differentiation using these influencing factors. This sociological approach was fundamental for understanding Ghanaian women opinion and needs to identify sustainable strategies that fashion designers can considerer when designing a bridal gown for this specific territory with strong traditions.

According to data extracted from the first report on disability and development carried out in 2018 by the UN, there are one billion people with disabilities in the world, which represents at least one-eighth of the world’s population and, consequently, this represents a large portion of possible consumers of digital games that the big industry has overlooked. According to Prodanov and Freitas (2013) the methodology used in this work is qualitative and the design methodology is Scrum. This article proposes a methodology for analyzing accessibility in digital games using the development of the digital game Planeta ODS as a case study. The goal is to contribute to the inclusion of individuals who rely on accessibility features in digital games and highlight the fundamental criteria for promoting this inclusion.

The fashion industry is one of the most important industries in the world from an economic and social point of view, but it is also one of the most polluting, being a larger consumer of natural resources and a considerable producer of waste throughout its value chain. It is imperative to change the way the fashion industry operates, the fast fashion model has to be rethought and the circular economy emerges as an alternative. These changes should start from the awareness of young fashion designers for the impact fashion has on the environment. Design schools, in general, have the function of opening the horizons of future designers to this problem and to the role they play with the choices they make.The present case study intends, in this way, to present an academic exercise, from the bachelor’s degree in Fashion Design and Marketing, from the University of Minho (2018/19 academic year) that consisted in the idealization and implementation of a fashion collection whose basis was a sustainable and circular perspective. “Signs of Life” collection took this stance by incorporating the reuse of pre-consumer textile waste, giving it an added value – upcycling.

Case studies are a recognized method to teach and learn in a business school, as they provide the students with the opportunity to analyze real situations in companies in an in-depth manner.The goal of this paper is to describe a novel methodology of co-creating fashion case studies among students, professors, and companies in a fashion business school, and to establish learnings and improvements in this teaching methodology.Two are the methods used to create the cases: one top-down, triggered by fashion companies, and the other bottom-up, based on the students’ interests. The analysis of a sample of 133 cases elaborated in ISEM Fashion Business School of the University of Navarra (Spain) since 2005 shows both the evolution of the challenges faced by the Spanish fashion industry and the permanence of some topics across time. Moreover, it highlights the contribution of students and academics to the companies’ development.

This paper discusses the notion of “learned in Italy”, in order to reflect on the meaning that fashion education may represent for critically rethinking the culture and history of Italian fashion in the 21st century. Learned in Italy is modelled on the label ‘Made in Italy’, but unlike the latter it has been the object of very little discussion and academic work. The paper suggests a vision of fashion culture not separated from its productive reality, which remains central to the Italian national context of the 21st century. “Learning in Italy” is an invitation to a research journey through the fashion manufacturing districts of Veneto Region. This approach stems from an ongoing research work carried out at the Iuav University of Venice and is an opportunity to reflect on the collaborative dimension of fashion and on the issues of generational turnover and offshoring-reshoring dynamics that are putting at risk the material and immaterial knowledges and skills of the Made in Italy.

Materials and processes play an increasingly significant role in the development of new fashion products and can significantly affect product sustainability and longevity. These aspects, like many others, are part of the numerous issues associated with sustainability [1, 2]. The Fashion ecosystem has a high impact on society and the environment. Sustainability is an important issue for the textile and clothing industry associated with the different stages of the product life cycle and their impacts. The skills of specialists in fashion product development (FPD) and respective training will have to evolve towards increased knowledge of materials and processes; however, the academy is not keeping up with these changes that go along with the rapid transformation of the industry. There is a need for new competence acquisition models that are tailored to the present-day requirements. The objective of this investigation concerns the use and validation of a set of methodologies for the acquisition of skills by students, which allows for the development of sustainable fashion products for the market. Active methodologies that are being used, include workshops, competitions, industry partnerships, and PD in the context of companies and academy, and using trainers with experience in the industry. It concludes a progress in the knowledge of sustainable materials and processes combined with motivation.

The design profession is not immune to the systematic oppression of patriarchy, although it has its own gender-specific histories. From the history of design, it is possible to understand the relationship and participation of women in its development and understand the need for other approaches, especially those associated with fashion design and the relationship with female textile ancestry. Currently, there is a considerable number of studies that address female relationships, the role of gender and female textile ancestral knowledge both in relation to the area and design processes. These add data and values to the question of how gender is constructed through design processes, which can directly contribute to more sustainable results, as well as to the configuration of meaningful and culturally relevant products. This article aims to address the marginalized relationships in the history of design: women - fashion design - female textile ancestry.

The importance of acquiring knowledge of traditional techniques, which validate the knowledge of the cultural construction of the identity of a people/society, require synergies between artisans and academia, in order to validate the skills of students, who choose the area of Fashion Design as a future profession. The richness, in Portugal, of traditional techniques resides throughout its territory, however, the gap of interconnection between them and future fashion designers is a concern that is growing on the part of the academy, with institutions that teach fashion design. Thus, it is central that students have the opportunity to learn from people who have the knowledge, which should be a consistent tool on the part of those who structure the syllabus of current courses and others that may arise in the near future.One of the main objectives of this research is to think of strategies to develop activities that enable the acquisition of this ancestral knowledge. Also, to demonstrate the importance of this knowledge for the professional profile that Higher Education Institutions intend to train, in order to recognise that this knowledge is an important element to add value and differentiate these future professionals in a global market.

The scourge of migration associated with refugee status is a societal challenge in contemporary societies. This encourages the development of adequate responses for people welcomed by responsible organizations, to promote full and effective social integration in the society in which they are integrated. In a problem-based learning approach, a partnership was developed with the Municipality of Guimarães, where students of the master’s degree in product and services design develop service design proposals for and with refugees integrated into the Guimarães Acolhe program. Based on participatory approaches, the students assessed the main anxieties and ambitions of the refugees, and developed, evaluated and proposed two services to respond to the questions of language learning and women’s empowerment. This process of learning and interaction with people and real contexts demonstrated the importance of promoting these initiatives both through the learning process and the potential impact of academia on society.

This article presents a teaching-learning process to address the redesign of the body through clothing, using moldable materials as a didactic strategy prior to industrial pattern making; for the first semester of undergraduate studies in Fashion Design and Sustainable Textiles. The volume generated by the planes (fabrics) in relation to the body is explored, allowing to visualize and feel the space between the skin and the textile. The principles, the process, the results, and a reflection on this exploration with moldable materials are presented.

Ageless Fashion is the name that best characterizes the research presented in this scientific article. Accepting aging and knowing how to deal with the various changes that the body undergoes is one of the great challenges that human beings, men or women, face with advancing age.Feeling good about your body and the way you dress is one of the major concerns of older people and it is also one of the issues that arise as a starting point for the project that was developed – Ageless Fashion.The main objectives are related to the understanding of the body and its natural changes for the best adaptation of the technical modeling of clothing and for the definition of an image where aesthetics and comfort are not forgotten.Thus, the challenge was launched to a group of Fashion Design students who, for a week, intensively sought to find solutions and proposals for clothing suitable for seniors, where comfort and aesthetics were the focus of study.

Configuration of a design solution combine aspects of surface, volume, contour, space, and point of view, promoting a sensorial experience that determines the perception of the shape with a visual utterance that stimulates the production of meaning. Following this, this article addresses the educational field of design, analyzing facilitating strategies to synthesize expressive concepts and the configuration process during the project practice in class. With a cross-sectional exploratory methodological focus, that includes participant observation and documental analysis, it examines the outcomes of applying the Map of Expressive Categories Map (MEC) and the concrete experimentation with didactic tools in the scope of Fashion Design, Interior Design, and Production Design formation. The analysis noted that the students integrated aesthetic, ergonomic, and technical requirements in the articulation of the shape syntax of objects and spaces, fostering the perception of the shape as an objective and subjective experience. Furthermore, the evidence confirmed the effectiveness of the MEC as a way to organize project thinking and communication in collaborative environments.

In recent years, especially in Brazil, we have advanced in terms of discussions on sustainability in the fashion chain. In order to contribute to studies in the area, this research aims to discuss teaching for sustainability, in undergraduate courses in Fashion Design, from the teaching perspective. The research started in a bibliographic survey about publications on fashion teaching in periodicals in the last ten years culminated in the creation of a questionnaire, which was applied with twelve teachers. As a result, it is expected to contribute to the discussion on the teaching of sustainability and the training of fashion professionals for a context more aligned with sustainable development.

This study shows the exploration and partial results of the use of ancestral and identity fiber dyeing techniques as current and sustainable processes to dye cellulosic textile materials such as fique and cotton.For this purpose, elder fruits, turmeric and achiote (annatto) were used, with which the natural dyes were achieved, and different tones were developed through the use of different mordants such as alum or aluminum sulfate, ash solution, urea and others.The application was made in the laboratory in small samples of fique and organic cotton fibers, and then it was done in larger quantities with a group of artisan weavers in Charalá (municipality of Santander, Colombia), sharing knowledge between the parties.The study shows how dyeing with natural dyes with a simple technique from the artisans of the territory can be considered as a sustainable alternative, respectful of culture and the environment.

The paper summarizes the objectives, methods, and results of an experimentation project on sustainability in the fashion sector, funded by the European Community in 2022, shared between three partners of different geographical origins. Among these, the Italian team, differentiating itself from the others who have chosen to work on zero waste or recycling, has explored upcycling as a technique which, going beyond the simple material reuse and recycling of trousseau and fabrics, in this case referring to traditional kits, triggers an upgrade process capable of raising its value compared to the original. The singularity of the experimentation is inherent in its multi- and trans-disciplinary character and in t in the complexity of the subjects involved, in the manipulation techniques adopted and in the construction of innovative and disruptive fashion concepts. The extension of the project brief to about 450 students and numerous teachers enhances the value of the experience, enhances the diversity of the garments in their being singular products but tuned to a common theme and amplifies the diffusion of the ethical message which is the basis of the objectives of the project. The result is a multiform repertoire, in which every expression contributes to the definition of a polyphonic choir, unique and multiple at the same time.

The contribution investigates how the two leading multinational luxury fashion goods holdings – LVMH and Kering – have introduced circular design methodologies and waste valorisation in their creative, production and distribution processes. Starting from the hypothesis that the imaginary of fashion waste is transforming from a negative element, to be hidden and eliminated, to a vibrant matter and resource to be valorised, the websites of the holding companies and fashion brands that are part of them were analysed in order to map current circular practices. Examples of the valorisation of pre- or post-consumer waste and its reintroduction into the supply chain are not rare, but until a few years ago they came exclusively from the action of emerging designers and independent brands, alternative to the fashion system, and the existing bibliography focused on these. This contribution opens up a new line of research involving global luxury brands, starting from the hypothesis that circular practices have spread from below within the fashion system through a bubble-up effect.

This article aims to analyze the production processes of a lingerie brand, with a focus on sustainable production and eco-design practices. The fashion industry plays a significant role in social, political, psychological, and environmental aspects. The study utilizes a qualitative approach, based on a case study and an interview with the brand owner. The research is grounded in the Eco-design Strategies Diagram, which seeks to classify the brand’s main product as sustainable. The analysis of production processes considers concepts such as sustainability, circular fashion, and the plus-size segment. The results highlight the eco-design practices adopted by the company, its commitment to sustainable production, and environmental responsibility. The study also addresses consumer awareness and the importance of transparency in production processes. It is expected that this work will contribute to the advancement of sustainable production in small and medium-sized companies in the fashion industry, promoting the integration of eco-design practices and environmental responsibility.

Over 4 trillion dollars and 4.1 trillion kilograms of second-hand clothes are exported worldwide (United Nations 2017). People use a garment an average of seven times, purchase five times more clothing than in 1980, and produce 100 trillion garments yearly, with 20% of the total remaining unsold (Thomas 2019). These figures depict an unsustainable system when considering its repercussions in terms of overproduction, environmental impact, and social consequences. Specifically, it is essential to observe and understand the Fashion System from a diverse perspective (Pierce 1903), which can shed new light on current problems. The exploration focuses on whether it is possible to construct a Fashion System that operates and establishes new relationships internally and among its actors, fostering equitable, ethical, sustainable, and horizontal relations. Analysis tools are provided to future creative talents so that, through comprehensive and systemic education, they can consider proposing solutions for an industry and ecosystem that owe a debt to the environment, ethics, labor laws, and social issues. To accomplish this, the circuit of second-hand clothing, specifically the importation of used clothing through the port of Iquique, the Free Trade Zone ZOFRI, is examined.

This article presents an analysis of the works published in the working group – GT Fashion, Sustainability and Inclusion, since its creation in 2009 until the last edition in 2022 at the Colóquio de Moda congress. For this, a Systematic Bibliographic Review (RBS) was carried out in the Annals of the Fashion Colloquium, where 99 works were surveyed, which were analyzed according to the themes presented, based on the analysis of their titles and abstracts. As a result, it was possible to show the evolution of sustainability research in Brazil.

Today, the damages brought by the linear production system throughout history are apparent, and at this moment, the harm caused to the biosphere and the depletion of natural resources are perceived, as endangering the well-being and even the survival of humanity. In Portugal, the footwear sector becomes worrying due to the observed expansion of economic values and consequently the use of materials and resources, namely synthetic hides and leather. This research starts with a brief characterization of the footwear sector in Portugal, followed by a contextualization of the importance of the transition from the current production scenario to a Circular Economy. It ends with a study of consumption habits through a survey. It raises reflections on the number of products purchased per user, purchase motivations, forms of disposal, and familiarization with sustainability concepts. The collected information is analyzed under the principles of sustainability and especially the concept of the circular economy, which reveals impressive results and conclusions that can be extremely useful in developing new products and services for sustainability.

“Fashion Alive” is a winning project of Creative Europe – European Cooperation Project, Crea Cult 2021 call, whose partners are: the University of Campania Luigi Vanvitelli (Unicampania) – Department of Architecture and Industrial Design; Cremodite (Asociacion Cultural Entrepreneur for Fashion and Technology Enterprises); University do Minho (Portugal, Department of Engenharia Textil); promotes sustainable practices in the fashion and textile sectors, through the development of innovative fashion collections presented during ad hoc events. The program of exhibitions, fashion shows, conferences and workshops facilitates participation and sharing of new knowledge and discussion on issues related to sustainability in fashion and textiles. The initiative helps to raise awareness in the fashion industry and society towards circular, inclusive, and symbiotic (PNRR) production and consumption models (SDG’s Goals). As a member of the Unicampania project team (of which: scientific director R. Liberti; members O. Cirillo, V. Cirillo, C. Scarpitti, M.A. Sbordone) during the courses collections of clothes were developed and prototyped, as well as critical-historical and narrative contents of the ancient trousseau tradition.In particular, in the courses of the 3-B Fashion Laboratory, Fashion Ecodesign and in the Textile Design laboratories of the Master of Design for Innovation (prof. M.A. Sbordone, PhD students: C.I. Amato and M. Orlacchio) the Fashion Alive project was interpreted as the hub for the development of material contents (collections and textile concepts) and immaterial contents (enhancement of the ancient trousseau or trousseau) pertaining to the meaning of the creative and cultural industry, such as fashion represents and of the trousseau in the demo-ethno-anthropological sense.

The environmental costs related to the production processes, the exposure of workers to inadequate conditions, the high competitiveness and the accelerated growth of the footwear sector, are results of the current production and consumption model, which also reverberates on the premature disposal of footwear and the lack of management of waste from its production process. Given these facts, this article seeks to understand which Design for Sustainability (DfS) approaches are being implemented in the sector. Through a literature review, the most used DfS approaches were identified and with a desktop research, a survey on examples was carried out, in order to mitigate the impacts through the concepts of Circular and Distributed Economy, models can enable greater resilience for small businesses in the sector, through local production and consumption. 16 examples of companies in the footwear sector were selected and analyzed, the study made it possible to carry out a critical analysis regarding the use of isolated strategies and a reflection on the incorporation of different DfS approaches. In addition, the study provides a wide repertoire of solutions and good practices for other designers in the sector.

The focus on sustainable textile materials opens a vital approach to industrial hemp. Hemp significantly contributes to the environment and local economies since it grows on an extensive range of latitudes, requires little water, is almost pest-free, crops benefit the soils, and requires low labor intensity. Fashion brands such as Patagonia, Lee, and Wrangler, among others, are adopting hemp to fulfill their quest for sustainability.European Union incentivizes textile industries to use new materials and recommends hemp, of its sustainable characteristics, to support the new circular economy. In European textile industries, the Portuguese, among others, produce fabrics and knighted fabrics 100% hemp but mostly in mixtures of cotton/hemp for clothing and home textiles. The products can be labeled sustainable on all dimensions (ecological, economic, and social), durable, comfortable, and rated as high quality/high price products.The research reviewed the related literature to refocus the problem on the current market conditions and presents how fashion brands, from global ones, such as Patagonia, and new brands, such as the Portuguese Sensihemp, reinforce their sustainability strategies through hemp. The foreseen perspective is that hemp will conquer a strong market share among natural textile materials at a very high pace, following the continuous augmentation of the amounts of this fiber that will arrive in the market from USA and China. Prices will tend to decrease progressively as the various countries, particularly in Europe, adhere to the comparative advantages that the use of hemp presents, and the textile production chains adapt to this fibre production.

This reflection provides further insight into the interaction between Jewellery Design and Art, through the exploration of an applied research methodology that did not exclude intuition, experimentation around materials and techniques, and the enhance of emotion and memory. Jewellery and Art gradually approached over the 20th century, a more affirmative aspect since the 60s, with the pioneering use of industrial materials, often intersected in assemblages and the adoption of the multiple, in denial of the single product. New relationships between body and object as well as new meanings were explored, stimulated by even futuristic jewellery concepts that provided a new experience to the user and freed themselves from the exclusive use of precious metals and gems. This involvement has contributed to the affirmation of jewel, one of the least changeable products that communicate something about us and the way we see ourselves in the world, more actively or more implicitly. The literature review and instruments such as exploratory sketches and prototypes play a key role in our applied research, focused on strategies that provide new experiences to the jewelry owner, minimize the environmental impact through options such as upcycling, and affirm a line of research focused on body-object relationship and memory.

The fashion industry annually generates tons of textile waste and is considered one of the most polluting industries in the world. This unsustainable scenario is largely due to fast fashion, which encourages consumers to get rid of their clothes, even if they have emotional ties with them. However, as people experience remarkable experiences with their pieces, this distancing becomes more complex. Thus, the objective of this study was to report and analyze how affective ties can influence a creative redesign process in a fashion workshop, understanding the emotions of participants in the process of transforming their own disused pieces, through upcycling. This investigation was carried out through an action-research in a 4-day workshop applied in a fashion studio at a university with a total of 8 participants. Through three different tools, we identified the emotions of the participants regarding their disused clothes prior, during and after its redesign process. The workshop results indicate that clothing is considered very important for most participants. Regarding the emotions experienced during the redesign process, the most mentioned emotions were: Excited, Stimulated and Insecure. Results also show that although most participants try to get rid of disused pieces, they do so by trying to stay close to them, revealing a strong emotional bond with clothes.

This paper presents a tool developed for testing user interaction with 3D printed abstract shapes and collecting data from brain processing.Human perceptual mechanisms allow users to establish an interaction relationship with any artifact.This occurs because part of our perceptual system seeks information, while the other part seeks meanings, in this sense this study resorts to neuroimaging as a potential mapping against the understanding of the meanings attributed by our brain to the forms and objects with which we interact. In this context, the designer, as a designer and researcher, approaches emotion, aiming to build holistic products where the interaction with the user responds not only to the pragmatic issues of functionality and usability, but also to the constitution of meanings. The exercise of emotion evaluation through neuroimaging almost always resorts to the use of 2D images, limiting the use of other stimuli, which can be tested on 3D objects from a trilogy of interactions – visual, tactile and acoustic – with the user.In this experiment, the Wireless EEG was used, adapting the existing evaluation protocols, considering specific requirements for haptic evaluation. For this purpose, an artifact (Black Box, controlled by light periods) was designed to trigger “trigger” moments during the use of the objects, synchronizing the different evaluation mechanisms. This box also allowed minimizing dispersing stimuli by canceling distracting elements in the focus of the evaluation object.Finally, this article aims to identify the main advantages and disadvantages between the evaluation protocols recurrently used and the evaluation proposal adapted with the introduction of a Black Box and the use of wireless EEG, in the evaluation of tangible and intangible three-dimensional products.

This article presents the results of a preliminary study that evaluated the perceived tactile and visiotactile quality of textile materials applied to sleeveless nightgowns at the garment production center in Pernambuco (PE) and also, how users perceived the quality of sleep wearing products with two different types of fabric: natural and synthetic fiber. Recent research highlights the interference of sleepwear on sleep quality and, when it comes to sleepwear, the choice of materials is a key step in the fashion design. The proposed investigation method, adapted from Nogueira (2011) was divided into three stages: 1. Data collection; 2. Definition and Application of the tactile and visiotactile protocol and 3. Subjective evaluation of fabric interference in sleep quality. The dialogues established between the tangible and intangible aspects of the dressed body brought an understanding of the perceptions stimulated by the materials, such as: thermal comfort, roughness, softness and feelings of pleasure and relaxation. As a result, it was found that there is a preference for the polyamide + spandex composition, due to the pleasure felt when touching the fabric reported by the users. The one to the detriment of cotton; even this one possessing technical attributes that benefit sleep.