Advances in Fashion and Design Research

Fashion trends, a concept recognized as worldwide interest, linked to the world of fashion. Is it possible to apply this concept in the wine sector? Nowadays social networks are one of the platforms where e-commerce and product advertising is strongly present, from fashion brands to wine brands. Through a case study of four brands: Zara, Versace, Casal Garcia and Louis Roederer (two belong to fashion sector and two belong to wine sector, respectively), the goal of this study is to identify how they behave digitally on the social network Instagram, understand how they present their products by directly comparing: target audiences, concepts, colors, patterns, expressions and elements. A timeline common to the four brands was selected where the trend chosen for the comparison is active on social networks with the same social and economic age. With this study we can prove that the wine brands studied, Casal Garcia and Louis Roederer are influenced by fashion trends.

The contribution focuses on the description of methods and techniques used in the creation of a digital platform for the valorisation of fashion-oriented Made in Italy companies.The state of the art and the scientific literature on the subject show how the sudden changes of recent years have highlighted the need to identify new tools to protect and valorise the cultural and productive memory of a place, making it accessible to future generations.In order to do this, digital archives and platforms are created to systematize and valorise vast and heterogeneous cultural deposits of data, making visible the complex panorama of relationships and actions that characterize the manufacturing and production landscape of fashion.The aim of this contribution is therefore to describe the approaches used in the case of applied research described, which can be scaled to various areas of design and fashion, as it is capable of organizing, valorising and making accessible the cultural heritage, in particular, of fashion-oriented Made in Italy companies to future generations, an aspect that is considered of fundamental importance especially in those sectors where the heritage is also made up of intangible values, such as stories, experiences and “know-how”.

The crossing between the stage and the set of the main characters of the Portuguese film O Bobo between their daily life in the 20th century and the characterization in the historical context of the foundation of Portugal (12th century), provide the opportunity to analyze and to compare the costume in a theatrical and cinematographic aspect. In demystifying the credits attributed to the costume designer and the rest of the wardrobe team, until the identification of the narrative, the costume presents itself as a messaging tool necessary to understand the argument. With the present study, it was also possible to frame the fashion culture existing in Portugal at the time of the filming and to solve the historical inconsistency offered by the theatrical costumes.

This study aims to think about fashion overcoming the idea of ephemerality. In order to problematize the system that builds it was necessary to destabilize inherent concepts, such as origin, new, linearity, temporality, as well as its historical construction. The research sought to perceive the escape lines present within the system itself and brought them closer to the rhizome concept, using as example exhibitions from the Victoria & Albert Museum and Les Arts Decoratifs. Thinking of fashion as an image and later as rhizome broadened the look for the political possibilities that happen in the agencies that fashion promotes, and with this exercise, we challenge the unsustainability of fashion as a promoter of change, specially when signed in its material aspects.

Following doctoral research on the relevance of clothing for female emancipation, this article aims to reflect on the importance and significance of fashion communication. This topic has benefited so much from the union between fashion and female liberation. Fashion has articulated and moved among the most diverse areas throughout the centuries, and we notice its reflection in generations, civilizations, and evolutions. Fashion is a source of communication between experiences and history. In this study, a reflection and analysis concerning the study of fashion and communication were carried out. The aim was to value and highlight the theories and perspectives of some authors who have invested in this subject. The literature review of the authors was the source of inspiration for the argumentation, connection, and comparison of the various theories presented here. They were interpreted and evaluated according to the experiences adopted today.The present article proved to be a rich and unique source of the how important and involving is fashion communication.In conclusion, fashion is a spring of experiences and communicates through all artistic strands. It is influential and excites all generations.

The trend books and trend reports are materials developed by specialized agencies through transdisciplinary studies, which contain information about the sociocultural transformations that occur in society and how these may impact individuals’ behavior in the near future. Despite being widely used by the fashion industry as a support for the creative process and strategic planning, acquiring these materials represents a high financial investment, which is not always possible for professionals and companies. Thus, this paper is an exploratory study with a qualitative approach. The objective is to analyze the content made available for free by some trend agencies focused on fashion. Through the methodologies of literature review, exploratory online research, and content analysis, it was possible to structure a potential guide to observe the trends pointed out by these agencies for use by fashion designers who do not have access to paid content.

This article aims to address the role of American fashion publications in disseminating a specific image of Spanish women in the period from 1952 to 1971, two decades during which Spain built its reputation as a center of international female attire. On the one hand, it explores how Harper’s Bazaar and Vogue associated the concept of Spanish national identity with a specific female paradigm. On the other, from the perspective of comparison with the ideals of Italian femininity prevalent in North American media at the time, it analyzes the role of aristocrats as ambassadors of “Spanishness” and vehicles for the definition of a certain female archetype.

This article promotes a reflection of the relations between fashion, politics, culture and society from the analysis of the HIV-themed fashion campaigns made by the Benetton brand in the 1990s. The images were examined considering the political context to which they were produced, through a sociocultural interpretation. While the brand promotes itself through shocking advertising, the advertisement campaign images were also used as rotesting tools against the lack of action in the face of the AIDS epidemic.

This chapter addresses the cultural role of the floral boutonnière in Italian men’s attire of the 1920s. It investigates how flowers were worn and explores the ways in which they negotiated the dichotomies between masculinity and femininity, and between transgression and conventional values of elegance. By analysing the case of Filippo de Pisis (1896–1956), one of Italy’s most emblematic aesthetes, writers, and painters in early 20th-century Italian history, this chapter explores the different meanings that the boutonnière represented in men’s fashion. Flowers serve here as an entry point for adopting a historical approach to fashion in relation to gender, sexuality, politics, and the body. This chapter argues that wearing fresh flowers on men’s outfits constitutes a gender-bending practice.

This article discusses the creation and use of a full mask by the fashion field, a wrapping that causes the effect of erasing the subject as it covers the entire body. Manufactured and released in November 2021 by the French brand Vetement, created by the siblings Demna and Guram Gvasalia, both Georgian refugees, the full mask on the first collection signed by Guram simultaneously condenses the idea of protecting the body it involves, of making it invisible and unrecognizable consequently. After decades of overexposure of the body and the face, their concealment and anonymity emerge as other possibilities for the individual to be in the world.

This article describes the results of a research project and a workshop, in which historical and critical interpretations, together with those of communication design, have contributed to an unusual application of the themes of ethical, social and cultural sustainability, as well as upcycling techniques. These techniques have been tried out using fashion conscious design, a collaborative approach that combines different aspects of historical inquiry – design, productive and social processes – as well as the structuring of roles, phases and objectives of collaborative environments suitable for experimentation. The project focused on the interpretation of the linen trousseau, as the material and immaterial identity-linked heritage of the social and productive history of Procida, in need of adequate enhancement to mark the island being named “Italian Capital of Culture 2022”, and in its restitution in an original narrative, culminating in the creation of a collection of objects that adds a new twist to elements of household linen according to a contemporary style. Using procedures of superimposition, folding and assembly – the time-honoured techniques with which the trousseaus originated and were preserved over time pillow cases, sheets, nightdresses and towels have therefore become compositional elements of an unusual collection of upcycled garments and furnishings for the home, named “Linusitato”, a term that combines the provenance of the fibre, tradition and the possibility of surprising interpretations.

This paper aims to discuss the aspects that the personal image suffered in the period of the Covid-19 pandemic in Brazil, a situation that reached global proportions in the year 2020. The analysis seeks to identify the changes that the personal image had in this period and what was the impact that such situation led to experience in aesthetic interventions. The research sought to observe the influences that these people had in face of social isolation and how this situation altered their image and self-esteem. The research is exploratory in nature, based on data and bibliographic references. In this way, it was also observed how the digital media was a common factor for actions that impacted the image of a collective. The article addresses the phenomenon known as the Zoom effect, which became popular during the Covid-19 pandemic, which relates aesthetic interventions with the intensification of online experiences.

The text intends to present a research proposal on textile materials in Santa Catarina/Brazil. Analyzing the current scenario for the clothing market and other projects in progress in other locations in order to understand the best actions and possible applications for the maintenance of medium-sized and small companies. For that reason, a bibliographic survey of the history of the region and profile of local companies was carried out on creative processes in fashion and on similar proposals that are already in progress. The present work is part of a research and extension project initiated in 2022 and that is yet to be implemented in the years 2022 and 2023.

This article investigates the concepts of oppositional attire and oppositional embroidery, seeking to relate them to fashion design and to politics. In addition to a temporal rendition, relevant changes in the ways of life that occurred in the second half of the 20th century will be listed here, indicating their relationship with clothes and embroidery. The concept of resistance will be outlined through the production of contemporary subjectivity regarding costumes and embroidery presented in two case studies. The first one features a clothing collection created in 1971 by fashion designer Zuzu Angel from Minas Gerais during the Brazilian civil-military dictatorship (1964–1985). The second one is situated in the political backdrop of the 2010–2020 decade in the form of pamphlets embroidered by members of the São Paulo collective Linhas de Sampa between the years 2018 and 2020. The research focuses on oppositional clothing and embroidery in their potency as dissonant narrative factors, insofar as they build expressive fields for questioning social hegemony in their purpose of expanding the articulations between design and politics.

In this article, which is part of an ethnographic research carried out digitally in 2020, some fashion/apparel design resources were mapped as a strategy to resist certain gender limits that, in this case, fall on men’s fashion through the great male renunciation. The study is focused on South America, with the intention that the limits related to the great male renunciation would be considered as part of a historical process which Aníbal Quijano [14] named coloniality of power. To this end, images of creations by the brands Alfinvaron [1] from Buenos Aires, who was also interviewed, and João Pimenta [9], from São Paulo, were analyzed. Both cases do not correspond to the patterns of Heteronormativity, rejecting the hegemonic masculinity by adopting the artifices of fashion that since the nineteenth century were considered mostly feminine. For this reason, these design resources are being taken as components of a becoming-woman [4] in men’s fashion. However, this does not allow us to think of the analyzed cases as decoloniality yet, but it helps us to propose alternatives to the gender binary in contemporary fashion.

Economically boosted by the textile industry, the Minho region, which went through a strong crisis, is currently recovering. From readings and observation of daily life in the Minho Region, the problem of the unemployment of older women was identified, who, before, worked in the textile industry, but, after being unemployed, retired in advance, leaving aside all their knowledge of the Minho textile culture and a period of decline in the transmission of these ancestral regional practices began. It is a region very rich in artisanal production and intends to investigate and explore the possibilities of design with traditional techniques, allowing the recovery and safeguarding of the knowledge of these former textile professionals, while being able to contribute to innovation and social occupation. The territorial scope of the investigation comprises mainly the cities of Braga, Viana do Castelo and also Vila do Conde due to their geographical proximity and the importance of their textile cultural heritage. This article is part of an investigation into the contribution through surface design and the use of traditional textile craft techniques to social innovation and the production of sustainable textile objects. This article presents the result of the mapping of local artisanal techniques in the Minho region.

The development of cultural products in a globalized and neoliberal context has led to cultural and identity changes in the structure of society. The Fashion System has been understood as a function of cultural industries to the extent that it helps the construction of a particular image of a country through the utilization and incorporation of local, cultural, traditional values, sensibilities and skills. That guided a tendency to incorporate notions of creativity and culture into economic and political development strategies (Casadei and Lee 2020). This is understood from the soft power conceptualization because it wants to project a dominant image capable of representing different territories with a specific purpose of national cohesion and belonging (Popović 2017). This investigation aims to reflect how fashion is used as a cultural tool that enables nations to be recognized and stereotyped through a certain image related to a particular representation, related to the concept of popular geopolitics as a tool of soft power, because they want to project their culture and idea of future. The investigation focuses on the Kenya and Liberia Olympic athlete’s clothes from the inauguration ceremony in Tokyo, 2021, where the garment used resemble the traditional clothing used by their cultures.

In a world where ideas are in constant flux, society negotiates long-standing words that refer to sex and gender in favour of more diverse terms, such as trans identities or non-binarity. This article will address how fashion can help express a non-normative view and lived experience of gender. As this area of research is still developing in Portugal, the methodology chosen for the present work was the case study. Through the analysis of two young Portuguese fashion brands (Ivan Hunga Garcia and Amor de la Calle), the paper explores how the creators behind them see the non-binary movement; the connection between gender and fashion; and their relationship with other like-minded individuals. The conclusions explore how new trans fashion approaches might translate into more inclusive realities for everyone.

The paper offers an analysis of the symbolic importance of material culture. Our starting premise is that clothing is a cultural document of a given time and space, as it participates in the formation of individual and collective identities. Bearing this in mind, we’ll study the female traditional costume of the Azores with a view to improving knowledge on the archipelago’s culture and to creating new visual objects that not only embody the cultural legacy of the islands but also capitalise on environmental resources and endogenous elements. In order to accomplish our purpose, we’ll analyse the islands’ historic background from the point of view of culture, economy and politics, and reflect on the role played by culture in preventing the risk of a de-characterised global world, as well as a force that ensures resistance, empowerment and sustainability. Finally, we’ll seek to enhance the future life of the traditional costume by using it as an inspiration for the creation of jewels. It is our aim to demonstrate the power of contemporary jewellery. Contemporary design can both preserve the community’s identity and transform the visual object into a message that travels across frontiers and unites different peoples.

Studying fashion’s history and gender problems raises the question of genderless, by highlighting the significance of fashion, as a modern phenomenon. Clothing is considered, in this sense, one of the most noticeable consumer goods and a significant factor in the social formation of identity [1]. Genderless fashion and gender issues are contemporary. It is present in articles, photography, art, music, movie stars, and fashion and has accompanied the progression of history; several authors have previously handled this subject.Interdisciplinary research encompasses research and analysis of phenomena in various areas of scientific study. In this case, areas such as Fashion Design, Sociology, and aspects related to product attributes and mainly to consumer behaviour. Consequently, it is pertinent to give the research an interdisciplinary character concerning the design of genderless clothing and link the different aspects addressed in this work, which implicitly belong to it. This theoretical framework in fashion interdisciplinary is based on PhD thesis research entitled: Gender Issues in Genderless Fashion: Trend versus Paradigm (Translated title from: Questões de Género no Vestuário Sem Género: Tendências versus Paradigma.), which analyses genderless clothing in detail, addressing other associated concepts such as sex, sexual orientation, types of gender, unisex, androgynous, among others [2].

Additive manufacturing has been highlighted as a technological process that fosters innovation in areas such as industry, science, fashion and arts in general. This is due to the fact that it is a medium that offers many possibilities in its use, making it possible to execute projects that would not be easily applicable by conventional means. For such a purpose, this paper uses the STEAM (science, technology, engineering, arts and mathematics) practice to make new applications in creative processes for arts possible. This was done via the application of models, designed in the Grasshopper® graphic algorithm editor along with the Rhinoceros® platform and 3D printed through the additive manufacturing technique (Fused Deposition Modeling) on a conventional painting canvas. The study aimed to analyze the possibilities of the joining of the PLA polymer with the textile material in order to expand the artistic possibilities of the technique. Parameter combinations were studied for the adherence analysis, thus confirming the viability of the technique and subsequently designed models of Voronoi-type mathematical structures in order to exemplify its possibilities in an artistic bias from the STEAM perspective.

Clothing is a layer that protects the body and translates the individual’s identity. Its use should promote well-being and quality of life, bringing comfort and satisfaction. The increase in longevity showed a new form of clothing consumption and, even more, when these users have some limiting conditions for manipulating and using, it can affect independence. Some people may have motor difficulties for dressing and need manual precision to be performed, such as those with slow movements, tremors, and involuntary movements (characteristics of Parkinson’s disease). In this way, the article aimed to understand some aspects of the elderlies’ perceived usability and consumption of clothing products (with Parkinson’s disease and neurologically matched healthy individuals). Therefore, a questionnaire was applied in a semi-structured interview to understand factors about consumption and usability. The results showed broad perceptions from the product development perspective about clothing and stages that can be difficult. Future studies should investigate more symbolic issues relevant to the product’s consumption, doing practical tests of daily clothes for the users and giving insights to industry and practitioners.

According to the Brazilian Association of the Apparel and Textile Industry (ABIT) [Associação Brasileira da Indústria Têxtil e de Vestuário], Brazil is world leader in the production of beachwear, and the state of Rio de Janeiro is the largest producer of this segment in the country. In the cutting process of these models, approximately 30% waste of raw material, most of which is discarded in sanitary landfills. In order to transform the textile waste into a new value-added material, this paper addresses the initial results of a filament prototype for 3D printers, using pre-consumer polyamide mesh waste from the production of beachwear. As theoretical support we discuss the circular economy and circular fashion concepts, additive manufacturing and textile recycling. One solution proposes to use this filament in printing trims and accessories on demand and or customized, to replenish their production.

The term Wearable Computing was first coined by Steve Mann back in 1997. Today, after being combined with art, fashion, and science, this term seems to request new denominations, such as electronic textiles, smart fabrics/clothes, technological fashion, among others that best relate to the characteristics of contemporary apparel. We believe that wearable monitoring technologies and biotechnologies, by showing data such as heartbeat, skin conduction, sounds, colors, textures, body movements, temperature, among others, present data of intimacy, which have inevitably been used as control of oneself and our experiences. In this way, a discussion about art and fashion from the point of view of technoscience and biotechnology can bring reflections not only on science applied to clothing, but on what emerges from this relationship in material terms and also about the process of creating narratives. This article intertwines fashion, art, technology and biology through a bibliographic framework, approaching case studies of three artists/fashion designers who demonstrate such border relationships: Ying Gao, Thatiane Mendes and Breno Abreu, showing the importance of looking at materiality and narratives in contemporary fashion.

The paper aims to communicate the methods to conceive a Sensorial Toolkit to be further evaluated by visually impaired persons (VIP). Composed of several levels of appreciation, the activity can provide a dynamic and interactive experience for the visually impaired (VI) participants, emphasising the senses of touch, hearing and smell and the stimuli provided through different evaluations of fabrics. Some fashion designers have already employed inclusive methods in clothing development by adding braille on the surface of fabrics and manipulating textile materials, emphasising inclusive design methods for product design. However, these products have never achieved the desired projection in the global fashion market. Therefore, it is essential to understand the VIP needs, try to provide possible solutions and meet preferences. Moreover, finding a balance between inclusive and accessible consumer preferences and the tasks involved in designing new products. Therefore, the methodology employed in the tool focuses on project and design thinking methods allied to the main tasks of creating and developing the fashion product, namely clothing.

Mobile apps have become modern life accessories, furnishing tools that help people carry out social and professional activities daily. They are intensely used by Brazilians, who stand out in the world population due to the time they spend using such resources. Material selection is a crucial phase in satisfactory fashion product development, and it can greatly benefit from digital tools that help this process by obtaining better performance of clothing material. Hence, this study aimed to search and analyze mobile apps that help screen textiles in the context of fashion design, presenting resources such as virtual reality and augmented reality as greatly advantageous factors in this tool category. The exploratory research identified and presented 18 apps with the potential to contribute to the topic in question, either directly or indirectly.

This article compares the methodological processes utilized in strategic design and fashion and its purpose is to develop a process proposal for fashion retailing employing the product-service system as the strategy. It confirmed that there is a reduced number of authors who address the methods and processes for fashion design related to product design. There is still no specific published methodology regarding fashion retailing. Thus, it was noticed there is an opportunity so that fashion methods delve more deeply into that perspective. It was possible to develop a proposal for developing a collection proposal for fashion retailing by uniting fashion methods, strategic design, and retailing, seeking their applicability to industry based on the obtained information. The results were based on bibliographic research to understand the utilized processes and data collection that investigated the reality of developing retail collections. The presented proposal shows how an alternative for reflecting more deeply on the theme, exploring the benefits used in the meta-design step in developing the collection, and addressing the under-exploited theme has been deficient in scientific fashion research.

The tailoring thematic has gained massive importance over the centuries, exhibiting its transformation in each decade with different signatures. Its manufacturing results from the artisanal to the industrial aspect, highlighting how tailoring adapts to the different contexts of pattern-making and deconstructed silhouettes to remain in the traditional tailoring bases. In this sense, in methodological terms, the objective of this article was to show the articulation between the theoretical and reflective dimension and the practical and creative dimension of the design project through the elaboration of a practical case consisting of the deconstruction of a classic blazer, supported by the referred theoretical reflection. Among the main results of the article, personalization stands out as a transformation process to promote sustainability and garments deconstruction as a trend. However, it intends to demonstrate that, even if the silhouette looks different, the classic lines are present in specific details. In a society still driven by consumption, which craves the personalization of articles, it is essential to contribute to the growing conscious use of clothing.

The importance of additive manufacturing has been growing with great speed both in industry and in academia around the world. Thus, this work proposes to present students of Fashion Design courses with basic information about additive manufacturing in the fashion industry, reinforcing that this type of manufacturing can be a viable alternative in the development of new product projects. This article also presents aspects related to the Additive Manufacturing process and thus, at the end of the article, a suggestion is made for the inclusion of this knowledge for the Fashion Design student. The suggested content is theoretical, conveyed through virtual and non-mandatory teaching and can be inserted within the Accessories Development discipline as an extra material, to support the student, divided into 4 weeks of study.

This article shows the research on compression knit fabric with the aim of designing upper body support garment to offer more comfort and prevent injuries in sports and leisure practices for female senior consumers. The study of the design of knitted sports and leisure clothing adapted for senior consumers is aimed at improving the physical and psychological comfort of the state of health and well-being for this specific population. In survey with 110 senior consumers carried out by the author in 2019, it was concluded that women's clothing for upper body support is more relevant in terms of the demand of senior consumers, and considering the many innovations offered by a multidisciplinary research team, different options for textures, surfaces, properties, aesthetic and functional results could be designed. Regarding knitwear garments, pieces come out practically ready from the machine. Using methods in product development design and engineering, we hope to present here research focused on garments for sports and leisure activities that truly meets the form and function needs of female senior consumers.

The present work aimed to analyze the tools applied in the training of embroiderers and verify the effectiveness of the instruments, regarding access to knowledge. Among a range of needs for contemporary organizations, we can respond quickly to changing market conditions, competitive threats, and customer demands. These elements are a great challenge for organizations, as they demand actions aimed at implementing planned changes and seeking resources to solve strategic issues. Some centers of training of embroidery multipliers in the metropolitan region of Belo Horizonte were analyzed to know the methodologies applied in the training of participants and which handcrafted embroidery techniques are passed on. These methodologies were compared to verify their effectiveness regarding the generation of learning added to the tacit knowledge of participants for product development, to generate income. The case study methodology was used, which focuses on explaining the causative variables of a given phenomenon. In the end, the methods applied in the work centers and the path drawn by the participants to become multipliers of learning teaching were presented, with the generation of positive and sustainable financial results.

In contrary to most textile products a knitwear piece originates from the process of creating form and surface in symbiosis. The fashion designer, while creating such a piece, needs to balance spatial, sculptural, and aesthetic components while worrying about the technical barriers that his knowledge, or lack of, will rise. On the opposing end, there is the knitwear industry which has technically skilled technicians that can build knitwear from the “tick” of a computer mouse and with ingenuity generate new forms, news surfaces but with (usually) absence of the aesthetic, modernity, pertinence that the fashion designer can create.This article concentrates on the research developed in this gap between these two professionals, especially in the field of fashion knitwear design and aims to study the (miss)communication and structural fences that affect the collaboration between them.

It will be some years before the Metaverse is a fully developed reality, but we spend more and more time connected to virtual worlds, in which we live fashion-related experiences. The Metaverse has the potential to change the way we communicate, work, have fun and do business, and the fashion industry is a pioneer in the development of marketing strategies that allow it to participate in different ways in these virtual worlds. The objective of the present work is to analyse the role that fashion plays in the Metaverse, and the opportunities this world presents to promote brands and generate income in its booming market for virtual goods, or “v-commerce”. Based on an examination of the still scarce scientific literature and recent press articles on the subject, this study highlights the importance of digital fashion not only as a means of self-expression, but as an opportunity for designers and users to explore new creative frontiers. In addition, the Metaverse is expected to be the new marketing platform, where brands will be able to develop other ways of marketing, communicating and building communities of users of the digital universe.

The present work is part of the monograph presented to the Fashion Design. It was developed from 2021/2 to 2022/1. It presents the results obtained in the first phase of the research and seeks to analyze the consumption of thrift stores via Instagram in Chapecó, Santa Catarina. The research addresses consumer behavior in fashion, the scenario of thrift stores in Brazil, and the current scenario of thrift stores in Chapecó. The theoretical background brought together the following concepts: i) fashion, ii) conscious consumption and thrift stores, and iii) business models on the Internet and thrift stores on Instagram. In this stage, there are authors such as Bauman (2008), Godart (2010), Carvalhal (2016), and Recuero (2011), as well as papers and other research related to the subject. This study is classified as a pure research study, conducted under a quantitative approach and with a theoretical framework, exploratory stage to approach the field with a Google Form aiming to collect data on the profile, consumption of thrift stores, and thrift stores by Instagram in Chapecó. The results show a growth of a new consumer behavior integrating thrift stores and social networks, like Instagram, in Chapecó (SC).

The fashion consumption is one of the consumer particularities that most reveals their social behaviors. Although, since 2020, with the advent of the Covid-19 Pandemic, the consumption practice suffered intense transformation, mainly due to combat politics of the advancement of the disease. In the tertiary sector, almost every segment suffered severely the negative impacts of the pandemic and, in a very intense manner, the clothing segment. In this sense, the present paper seeks to reflect briefly on this influence that this time brought to the retail commerce with emphasis in Brazil’s clothing segment, in addition to a research with consumers, which indicated clues to a larger understanding on how was their consumption before the pandemic, during the most critical period and during the period of shopping in the end of the year 2021, when the effects of the vaccine allowed the commerce to reestablish in a form close to normal. The technical procedures undertaken were bibliographic review and application of questionnaire, and the analyzed results showed that the changes lived in these two past years will bring permanent impact.

The competitive differential is an important aspect in the footwear market and companies in the sector seek to manage ways to promote strategic directions. In-depth knowledge of stakeholders is a way of reaching strategic management. This paper presents a survey conducted with a footwear company in the south of Brazil and started from the following problematic: which actions, in terms of management, are conducive to the interests of the stakeholders of this footwear brand? The general objective of the research was to indicate directions for the strategic management of the company in question, based on the interests of the brand’s direct stakeholders. As a specific objective it was expected: to map the stakeholders of the brand; to build personas typical of the target audience based on the current perception of the company; to survey perceptions of direct stakeholders. For this purpose, a qualitative, applied and exploratory research was carried out, using the case study and the survey through the construction of a map of stakeholders, the creation of personas and questionnaires. As a result, strategic brand directions were scored, with insights and confirmations about the company’s current positioning.

This text seeks to reflect on the use of methodologies in the study of trends that may contribute to a more collaborative research process and that meets contemporary social demands. To this end, we sought to delineate the current scenario and focus on the work of the researcher José Ramos, as a starting point for this analysis. This text is part of a larger project that aims to analyze several methodological approaches in the area of future studies, also known as trends.

Market dynamism and the rise of e-commerce, especially during and after the Covid-19 pandemic, require fashion brands to be strategically prepared. Knowledge about the relationships in the business ecosystem, together with scientific research, contributes to outlining strategies. This paper presents a survey based on the following question: how can understanding the ecosystem of fashion brands contribute to the identification of strategic opportunities in the business? The goal was to identify opportunities for managing a women’s fashion e-commerce. As specific objectives it was outlined: (i) to build personas representative of the typical customers of the studied brand; (ii) to compare the ideal journey with the observed journeys of the typical customers; (iii) to conduct the mapping of the business ecosystem. The methodology adopted was a qualitative, applied, and exploratory research, using case study, with participant research, and technical survey procedures through bibliographic analysis, empathy mapping by the understanding of personas, user journey and ecosystem map tools, starting from the stakeholder listing. The results showed points of the business where strategies can be applied and implemented. Processes that are adequate, improvements, revisions, and necessary deployments, as well as insights emerged from the analysis, were highlighted.

When we thought of a shopping experience provided to a fashion consumer by the end of 2019, we basically remembered shop windows and shops with a good visual merchandising and storytelling project, allied to a marketing plan that accompanied all this action also in social networks. After a few months of confinement, as what happened in the last two years in many countries around the world, what we see today, in terms of visual merchandising and storytelling, mainly from luxury brands, is a great investment in the whole consumer experience. The creation of visually very attractive physical environments and with strong appeal to the shopping experience, and the monumental architecture with a strong focus on facades of relevant impact, marks this new phase of fashion retail. Integrating the communication of the physical point of sale and adapting this experience to the digital media has become a great challenge, but not letting the physical experience lose its relevance seems to have become the brands’ big bet. Thus, this article intends to analyze which reinvention strategies have been adopted by some luxury brands, in different countries, reinforcing not only the physical presence, but also being propagated digitally by social networks.

This work seeks to understand the evolution of the fashion sector during the pandemic of Covid-19 and the way in which branding helped fashion brands in the corresponding crisis. Although there are numerous and divergent challenges in times of uncertainty, there are always opportunities to be conquered, namely in an industry that has the ability to constantly reinvent itself, thus justifying this study based on the relationship of the tools made available by fashion branding. The objectives that are sought to be achieved are: to identify the evolution of the fashion sector, making a survey of three temporal spaces in order to understand how the pandemic accelerated the predicted trends; to understand the importance of branding in the way companies responded to the crisis; identify the solutions found to preserve the value of the brand in the face of consumer behaviour; to confirm the relevance of branding in the evolution of sustainability in fashion. To meet these objectives, the study used an exploratory methodology, based on the most recent bibliography to support the analysis and discussion carried out, having been divided into three periods, analyzing the functioning of supply chains, consumer behavior, sustainability in fashion and branding and strategies.

This study aims to investigate the digital transformation on the print and pattern designs purchase process within the Textile and Apparel Industry. This sector is a fertile field for innovation, with the knowledge and prospection of new technologies intensified by connectivity and digital businesses, highly relevant for greater agility and efficiency in the chain. With an exploratory and qualitative methodological approach, this study is carried out through the understanding of the habits and processes of buying print and pattern designs by companies from three countries – Portugal, Brazil and Sweden, considering the globalized profile of this chain. In order to understand the company profiles and the means used in the researched action as well as to identify the digitization in this purchase process in the reality of the participants, interviews and questionnaires were applied. As a result, digital tools that complement or replace traditional ones were detected, which have been increasingly used. Digital transformation has been, therefore, recurrent in this type of operation, in order to bring agility, variety, ease and sustainability.

The paper proposes to investigate the remote education methods in professional training of the Technical Course in Fashion Production of FAETEC/RJ, during the social distancing imposed by the COVID 19 pandemic. It proposes an analysis on 3 case studies, namely the practical subjects of Fashion design I, II and Modeling. Through this study, the methods, records of teaching practices, and student access can be observed in order to present the adaptations of methodology and didactics applied to practical content. This paper addresses the records of the pedagogical staff and the professors to analyze and demonstrate the positive results, the conditioning factors, and the implications that occurred during the process of adapting content from classroom to online modality, both for professors and students, demonstrating the forms of communication and the professional learning relationship, without losing teaching quality. For this purpose, this paper aims to present the pedagogical tools used for the transition from classroom education to non-classroom education, and to identify the similarities and differences in the teaching process of both subjects, as well as the difficulties, the advances, and the results obtained.

This study is part of a design investigation and aims to reflect on higher education in textile design in Portugal. The textile industry faces the need to restructure its production processes and business models taking into account the dimensions of sustainability, circular economy, digitalization and decarbonization for the benefit of the planet and human sustainability. The role of the textile designer is present throughout the process of developing a textile object and not only in the creative phase, as it is necessary to develop new ways of working and methods of collaboration that take into account these premises. In turn, the academia should prepare textile designers to collaborate in this restructuring by integrating knowledge related to the dimensions listed. A non-interventionist investigation was conducted based on the literature review and data collection, triangulating the research themes, aiming to stimulate reflection and weave paths of approximation between academia and industry. It was concluded that there are few academic offerings in textile design and that there are key skills in the areas of circular economy, society and sustainability, that the textile designer need to be prepared to respond to the challenges of the textile industry and strengthen the dialogue between academia and industry.

The labour market’s need for people with service design training has become a necessity. This evidence is not only reflected in the emergence of companies that provide this type of service, but also in the diversification of areas close to service design along with the digitalization process linked to physical artefacts and, the procedures used/implemented in social, organizational and business daily life. In Portugal, the academy has taken a not very assertive position in responding to this specific design need. Based on the previously described, we sought to frame the Portuguese academic training offer along with the Master in Product Design and Services at the University of Minho as a case study. Through its teaching approaches to product and service design, strategy, results, and the relationship with society, this analysis reveals that emotional design and collaborative approaches emerge as differentiating elements. Starting from projects and initiatives developed, we planned it to evaluate the suitability of this training to real contexts and, thus, the relevance of this teaching offer in preparing professionals for the future.

This research focuses on discussing the teaching-learning processes for the instruction of collection development projects in technical and higher courses, in particular, the ways in which the technical representations of fashion designs and the filling of datasheet (tech pack or specification sheet) are made. The methodological approach “Pentagonal Pyramid of Fashion Design Drawing” has already been tested in two Brazilian educational institutions in the city of Divinópolis, Minas Gerais. The application of this methodology was carried out by means of an experimental protocol as part of the author’s doctoral thesis in Design at Universidade Anhembi Morumbi, Sao Paulo, in order to evaluate and verify each step. With the results of the investigation, this paper presents a teaching model, which can contribute to the work of teachers and favour the training of students in technical and higher courses in the area of fashion design and, consequently, spread on the Brazilian industry of clothing.

The constant search to find diversity and creativity in the teaching–learning process is the starting point for the work developed in this article. The growth of the Fashion System must make the various actors in the process of training designers reflect on their intervention in this change because they are training those professionals who will enter this Fashion system in permanent evolution. In this context, it is essential to discuss how to approach the different contents, which generate the development of students’ competencies, of the curricular units of fashion design courses, especially the practical ones, such as patternmaking. This need meets the teaching perspective that the implementation of the Bologna Process expects - an education system centred on the student, developing competencies.This article addresses the paradigm of patternmaking teaching. Taking as a starting point work in the bust, patternmaking process - Draping - at the beginning of education 1st cycle, considering a student-centred teaching perspective. The research methodology focuses on a case study, having developed the experimentation of this approach in the teaching of modelling in a small group of students with direct observation of the researchers/teachers.

This article presents reflections on the discussion of the insertion of black culture in the curricula of fashion teaching in Brazil, starting from the assumption that they are based on Eurocentric matrices that do not contemplate the phenotype and the Brazilian culture. It discusses the insertion of these contents, and the role of Law 10,639 of 2003, which deals with the mandatory study of African history and Afro-Brazilian culture throughout the educational network and the importance of building education projects based on the principles of interculturality, valorization and respect for differences. This research points out that the actions of racial literacies at issue, until then neglected by the academy, can alter the perspectives of those who build the “other”, in the power relations in the current Capitalist Global Order. Naming racism is of fundamental importance so that we can exclude it from everyday practices when we are caught and surprised by making these same racist practices natural, on a daily basis. Thus, as much as it has not used a specific methodology, what is exposed here is the path of this experience lived in the classroom, the decisions resulting from it and the rethinking of some teaching practices.

Sustainability is a widely discussed issue for fashion, and designers are asked to take a central role both in facilitating the transition towards sustainable supply chains and in shaping lifestyles to promote change in society. The article focuses on the knitwear sector, analyzing how this industry scenario, placed halfway between an ancient manual technique and the most advanced technologies offers wide perspectives to pursue a more sustainable system. It reports the methods and practices used by researchers to bring sustainability in the field, to define new professionals able to innovate the entire knitwear production chain in a sustainable way, and to outline applied research activities that can widen the knowledge and intervene in the area of convergence between the design methods and the practices of sustainability.

This article discusses Biofashion as a concept of the future scenario designed for sustainability in the textile and clothing industry. The purpose is to create a new fashion segment tending to intervene in the current patterns of textile manufacturing related to Biofabricated and Bioassembled materials derived from fungi and/or bacteria and produced on a reduced scale within a distributed economy. The article is supported by bibliographic studies and examples of textile materials already being developed within this context. The article discusses the relevance and the advances necessary for realizing this new proposed scenario. After all, the authors concluded that there is still no clear-cut definition of “Bio” for the proposed concept, as its preparation is still changing. However, considering there is a relationship closest to the fields of conception and development, as well as experimentation in the strategic design, science, and material technology through designing advanced materials, it is a promising route for dealing with the “Biofashion” construct and its sustainable perspective of Biofabrication.

Slow fashion appears as a movement that seeks to slow down the industrial production of fashion by overriding the valuing of quality to the detriment of quantity and exploiting human and natural resources. This paper aims to identify how clothing consumers in Brazil perceive and orient themselves to the five dimensions of slow fashion consumption and their purchase intentions based on these dimensions. We planned and applied a virtual questionnaire with 414 potential consumers from Brazil using the scales “Consumer Orientation to Slow Fashion”, “Purchase Intention”, and “Willingness to Pay a Price Premium”. We treated the collected data by exploratory and confirmatory factor analysis and structural equation modeling. As a result, we observed that the slow fashion consumption-oriented scale did not thoroughly adjust to the investigated scenario. We concluded that the dimensions equity, localism, and exclusivity positively influence the purchase intention of slow fashion consumers in Brazil.

The Fashion industry is contributed increasingly for the high levels of disposal of textile materials. The liners systems of fashion production raise serious ecological problems; the solution involves the adoption of design principles supported by the concept of Cradle-to-Cradle concept, which defends circular systems that aim to increase the life cycle of products and materials. Thus, the objective of the project is to create sustainable solutions to post-consumer textiles disposal problems according to the kintsugi philosophy and within the scope of the circular economy concept. To uphold this, fashion clothing textile reuse techniques were developed. For this, the methodology of the Design Thinking – Evolution 6 was used, supported by an exploratory study of the disposable habits of the potential target audience. A market study was created using a questionnaire to elaborate on clothing disposal habits. As a source of inspiration, the Kintsugi philosophy was used, and studies of artisanal techniques and upcycling were used to develop clothing mini-collection and made. A video was made to publicize the collection.

This article is dedicated to the study of the logo of sustainable fashion brands, and its importance to consumers. The objective is to understand if the Visual Identity of sustainable fashion brands currently present in the current market match the perception of consumers. For this, initially market research was carried out where 384 fashion brands were analyzed and, later, a questionnaire with the purpose of understanding the point of view of consumers and how this was in line with the results of the research carried out previously. Finally, a set of guidelines was created so that they can serve as a guide so that future sustainable fashion brands can be better perceived by the consumer.It was concluded that there are differences between the characteristics of the logos of the brands currently on the market and the perception of consumers, although there are more converging than divergent points. Sustainable fashion brands must follow the guidelines presented to be more easily recognized by consumers.

This research proposes to incorporate the process of upcycling textile discards by molding polymers with denim fabric within the polymer matrix to be applied in the development of new products. To this end, according to Bruno Munari (Munari 1981), design should not be designed without a method, that is, thinking in an artistic way with the purpose of a solution is not enough if there is no research on similar projects to what one wants to do. Based on Munari’s thought, this article has as its primary step the literature review of what has been explored as well as the study of concepts related to the theme. From this, the selection of possible combinations of materials and technology to be tested was planned, aiming to define, for the second phase of the work (experimental phase), the most viable solution for the development of new fashion and furniture products with denim reuse. In a future phase, this work seeks to develop a material that can be applied in various fields of production, highlighting not only the importance of reusing discarded materials, but also the need for greater awareness regarding the effects of the production mode on the environment.

The fashion industry has been highlighted for its overconsumption, motivated by the current production model: the fast fashion. From another perspective, green fashion gains attention from the market and from consumers concerned with environmental issues. Taking this scenario into consideration, this study aims to have from Portuguese sustainable fashion brands perspective, how their relationship with consumers is encouraging them towards conscious consumption and if they are including in their strategies the use of experiential marketing to generate meaningful connections as to positively influence your audience.

Fashion brands that choose the fast fashion production model are still the most expressive in the market. This model is characterized by fast production and disposal, which becomes unsustainable for the planet and for the society. While the environmental issue is urgent, the social issue also requires immediate action. Therefore, this study takes social issues as the central object of the study. Research methodologies, analysis of existing documents, semi-structured interviews, online surveys and focus group interviews, made it possible to create a group of suggestions and recommendations for projects that can be implemented in fashion companies, in order to contribute to social sustainability.

Considering the increasing concern about sustainability, and given that fashion industry is one of the most polluting industry in the world, it becomes necessary to understand how companies have adapted their marketing strategies to this paradigm that still seems ambiguous.Fashion stores are increasingly using the physical store, their website and social networks to communicate their sustainable and ecological policies. The aim of this article is to collect and analyse some of the sustainable marketing practices that multiple companies in the sector are implementing.Different methodologies were used, the observation and analysis of the website and social networks were used to analyse critical and green marketing, and interactions with store employees were used to study social marketing.Eleven brands were selected, from the national and international market, and a data analysis table was developed, based on the Sustainable Marketing Framework created by Gordon et al. (2011), which integrates green, critical and social marketing.

The fashion industry is one of the most polluting sectors worldwide, impacting negatively not only the planet but also human health. In this sense, consumers have shown greater interest in more sustainable alternatives, and brands have used sustainability as a factor of differentiation. This attribute alone does not guarantee an irresistible brand, which raises the research question: “How to position, in the fashion market, a sustainable baby clothing brand (0–24 months), which does not use toxic substances in the manufacture of its products?”. To answer this question and determine the main characteristics of a sustainable baby clothing brand, qualitative research was carried out. This work seeks, through the analysis of fourteen baby clothing brands within the premises of sustainability to create guidelines for the development of an appealing brand. The work highlights that rather than focusing on materials, finishing processes or innovative technologies, these brands should focus on aligning their business strategies with marketing strategies, and in promoting an emotional relationship with their consumers. These results can help entrepreneurs who want to position themselves in the sustainable children's fashion market.

Trend is a key factor in the inspirational work of a fashion designer. It helps to give a guiding direction to what the consumer wants or is predisposed to use, and Carlos Gil validates and has a patent in his work the indicator factor of the trend, without this leading to a process of creative castration in his collections.Flick’Mo is the chosen starting point that leads us throughout the research work we present. It is a fashion design collection that reveals a massive passion of the designer for art and illustrates a journey through the most recent history of some of the most emblematic painters and that greatly inspires the creative process for the realisation of a Fashion Design collection composed of clothing, footwear and accessories.Kandinsky and abstract expressionism are the mottoes for a collection rich in colour, and patterns, in the designer’s style and the artist who inspired him. This collection has significant concern for innovating and revolutionising the work done by the designer until then.Social and environmental sustainability have a significant weight in this collection, the designer’s concern to contribute to the region’s development and environmental preservation.

The clothing sector has great relevance in Brazil, which is one of the few countries in the world with a full textile chain within its territory, leading to a substantial operation of input for production, employment, and income. However, this structure needs to be redesigned since its predominant form disregards economic, social, and environmental aspects with balance and fairness. Therefore, the research herein aims to define which vectors could contribute to the process of change, from an unsustainable design, production, and consumption model to a more sustainable one and, as a consequence, provide more concrete expectations about the future. The vectors were the fashion designers and retailers, companies, and actors with competencies in education, which can join forces to use their tremendous potential to work in favor of a change.

The purpose of this investigation is to understand how sustainability can emerge as a strategic branding factor in luxury fashion brands to stimulate brand love. Will it be a sustainable luxury fashion brand most desired by consumers? Is there a more empathetic connection on the part of the consumer when luxury fashion brands respect ethical and sustainable standards? What strategies should luxury fashion brands follow to be loved by the consumer? These are some of the questions that we intend to study with a focus on the concept of brand love. In addition to an approach to theoretical concepts related to brand love, luxury fashion and sustainability, the Stella McCartney brand was selected for a case study, which is an example of corporate transparency and plays a notable role in the sustainable fashion. It was concluded that sustainability can be a key factor in stimulating consumers’ love for brands, which translates into a positive word-of-mouth and high loyalty and commitment.

Over the last decades, the fashion industry has been facing the challenge of adapting to the critical power of its users, who are increasingly informed and aware. Concerning the female universe, the physical and emotional aspects resulting from the aging process, specifically the climacteric and menopause stages, influence the perception of clothing, both for its aesthetic characteristics and its usability aspects. In this sense, this investigation aims to identify the perception of middle-aged women concerning their physical variables as well as identify subjective and emotional responses regarding their relationship with fashion, primarily, clothing. The results showed that clothing was considerably associated with redesign and manipulation of the body. This relationship was associated with the construction of the individual’s image, as well as their personal and emotional satisfaction, psychological well-being, and pleasure.

Child-Resistant Packaging (CRP) contributes to the reduction of accidents with children, but it can also create embarrassment for those users with less biomechanical resources: for example, the elderly. This type of packaging is found in several products, such as mouthwashes that use a cap with a squeeze-and-turn opening system. This study aimed to evaluate and analyze the influence of design on the perception of opening difficulty and on the attractiveness of mouthwash packages with child-resistant caps. The study included 45 participants from different age groups (8–12 y.o.; 13–17 y.o.; 30–59 y.o.; and over 60 y.o.). Three different mouthwash packages were evaluated. A self-report procedure was used and Likert scale (with five anchors, expressed in images of facial expressions). The results showed that the difficulty of opening was not a factor that influenced the attractiveness of the packages, because even with difficulties in opening some packages, the justifications for the attractiveness were based on the shape, colors and transparency of the containers, which significantly contributes to studies in the field of Ergonomic and Packaging Design.

As materials become digital, tactility becomes a phygital phenomenon. When touch becomes visual, dematerialization emerges in the physical world. While dematerialization is embedded in human experiences, secondary effects arise in the digital-physical continuum in which we live. Without measuring its genuine impact, we inhabit this hybrid reality as part of a hyperobject [Morton 2010]. Accelerated by the covid-19 pandemic, the audience indulged in the suspension of disbelief, pushing design to incorporate more fiction into its products. What is the impact of translating physical materials into striking images and the perception that “something” is not entirely correct? This article focuses on the phygital domain and its influence on the experience of tactility in soft materials. The article examines dematerialization as a transition between old and new ways of designing; In this current transition, there is a feeling of loss. The lack of physicality, seen as detrimental, has, in turn, sparked a new wave in product design that gracefully merges the digital with the physical, even breeding innovative and less polluting manufacturing processes. At the core of this perception and conception of digital soft materials are the uncanny valley [Mori 1970] and transduction [Cadoz 1993].

The aim of this paper is to identify and associate emotions related to popular fashion storefront windows. With the reduced number of studies on popular fashion sales, we noticed an opportunity to consider the public at the base of socioeconomic pyramid in a city in northeastern Brazil. Such public represents significant numbers in the popular fashion market. Setting of from the application of focus groups with women’s fashion users, we approach topics related to storefront windows and emotions perceived from these shopping spaces. We presented four open-ended questions for the collection of data. The results were organized into tables related to the characteristics of storefront window designs and emotional inputs coming from the answers, selected between positive and negative ones. With the results, we intend to contribute towards a guidance of popular storefront window designs aligned with the specific public.

The tactile or visual interaction with a product can evoke different emotional experiences in a person. In this context, contemporary research in color attributes this variable a relevant role in human factors and in emotion-driven design. Related to this, this study provides a critical review of the scientific production of Design, Emotion, and Color, in the International Color Association (AIC) proceedings. Therefore, the proceedings of all AIC conferences were checked (n = 66), since the first conference in 1969. The data underwent a bibliometric analysis to understand the general characteristics of scientific production and next, a qualitative synthesis of the selected full papers. A total of one hundred and forty-four (n = 144) full papers were assessed for eligibility criteria and only eight (n = 8) studies were included in the final analysis. The results indicated a growth in the number of full papers concerning Design, Emotion, and Color, as well as a diversity of methods and research scopes. The body of knowledge found in this study can contribute to the theoretical investigation and arouse the interest of designers and practitioners for new advances on the topic investigated.

Although it has many definitions, design is related to shape things, the configuration of something. As a language, it uses signs and symbols to express itself. Thus, listening to designers about their creation processes becomes pertinent. This study counted with the participation of 23 product designers of particular relevance in the Portuguese landscape, who are part of the curatorship “Love at first sight”. Through a questionnaire it was possible to identify aspects and emotions that designers consider in the development of products, and a reflection was made on the impact of pleasure. The results reveal that “Practical,” “Simple,” “Emotional” and “Eco-friendly” are the most highlighted aspects by this group of professionals. Furthermore, it was concluded that it is important for designers to feel pleasure during the design process, without neglecting or excluding the user.

This paper aims to present the conceptual development of a project in the field of fashion design that brings Augmented Reality (AR) as a means to integrate technology and cultural sustainability over the interface of a fashion product. From the printed pattern, this technology is proposed to improve the interaction between the artifact and people. The Portuguese tiles were chosen as an inspiration for the patterns because they have a symbolic load that promotes the cultural heritage of this country. Design Thinking was the methodology chosen, in which the stages of immersion, analysis and synthesis, ideation and prototyping were carried out. As result, it was developed the graphic representation (mockup) of the designed textile pattern, the reading points for AR and the type of information to be presented through a mobile application. Technologies such as AR show potential to enhance user’s experience and this project discusses new possibilities toward its application into interactive textile patterns.