It is no doubt that the advent of computers brought with it the issue of internet. These two important factors have influenced all phases of human life; from studying, eating, communication to fashion and design (Colussy, 2005).
With regards to fashion design, the internet has been seen as an indispensable tool due to it various ability to support a number of activities in creating as well as marketing and selling of fashion.
The paper thus seek to clearly bring to light the impact of internet has transformed the way in which design is consumed and traded. To successfully accomplish these advantages as well as the disadvantages of internet on design and fashion will be analyzed.
Advantages of internet on design and fashion
First and more importantly, there is fashion software already designed to help individuals quickly come up with desired designs. This is very important especially when deadline to be beaten is so close.
The whole thing saves time; help provide room for creativity (Kawamura, 2005). Generally compared to the traditional way of doing things where a designer had to sketch on hard paper, these kinds of software makes it possible to have reduced paper work.
It has also been suggested that with such an arrangement of using computers and internet, it is possible for designers to virtually meet and discuss in details how they can improve on certain designs.
With such avenue of information sharing, it is possible for them to come up with products that are of highly quality hence more appealing to the customers.
Additionally, with internet, it is possible to carryout window shopping behind the desk. Via the system one can quickly scan through fashion shops in major cities of the world even though the weather outside is not conducive.
With the arrangement of making orders online and the ability to monitor the processing of the placed orders, buyers save the time as well as money that could have been used in visiting these shops (Kawamura, 2005).
For instance one United Kingdom Company La Redoute has a site that makes its entire product available online. The price tags are also available. It is worth noting that online selling has made it possible for small companies to be globally recognized hence expanding its on market.
As suggested by Colussy, 2005, internet has also made it possible for designers to receive instant feedbacks as well as suggestions and questions from customers.
This has proved to be very significant in developing designs that suits their demands. Lastly and more importantly, the advent of internet has seen to it that there is increased reliability bas well as convenience in online shopping for fashion and design.
It is worth to note that this usually comes with a lower cost of doing business on the side of the seller hence an advantage to consumers as they will get the products in a lower price.
Disadvantages of internet on design and fashion
One major problem with internet use in creation of fashion as well as marketing is that it is not readily available in certain regions especially in developing world.
This makes it a challenge for designers products to reach a new market. On the same note, internet use has led to plagiarism (Chia, 2010). Designers due to the fact that they can easily share information with regards to various creativity and innovation, there are higher chances of some individuals to use certain designs and present them as their own. This is wrong since it does not acknowledge the original owner of the design.
Conclusion
From the review of internet use in design and fashion, it is evident that it has tremendously changed how things are carried out especially in creation as well as consumption of products from designers.
Internet has made it possible for designers to quickly design without using hard paper, it is easy and quick. Similarly, selling through the internet has made it possible for people to buy online.
However, unavailability of internet makes it a challenge for designing companies to reach markets that do not have reliable internet infrastructure. Nonetheless, there is need to strike a balance in using internet as it is a vital tool in the current business world.
References
Chia, E. 2010, The Disadvantages of Fashion Marketing on the Internet. Web.
Colussy, M. 2005, The Fashion Sleuth: How To Research the Internet for Fashion, New York: Prentice-Hall.
Kawamura, Y. 2005, Fashion-ology. An introduction to Fashion Studies. New York: Berg.
Fashion trends are always changing. They tend to meet the demands of rapidly developing society. In the modern world, young professional pregnant women, who are my target market, prefer continuing their careers as long as possible before their child is born. Of course, they want to wear nice clothes when they work during their pregnancy. Hence, the tendencies in maternity fashion are the topic of this research.
Current Trends
According to Pregnant Statistics, there are about 60 million women in the childbearing years in the United States ( Pregnancy Statistics ). This period coincides with the active career building. Consequently, the women are likely to continue working during pregnancy. The contemporary young ladies prefer staying active. Often they present themselves more as a professional than as women. Within the last decades, it was a challenge for designers to develop the maternity style which will be different from moo-moos and matronly tent dresses (Cohn-Barr). New brands are created to provide women with fancy clothes before, during and after the pregnancy. Besides, the silhouettes are changing in recent seasons too. Thus, the maternity clothes can be worn by any woman, and regular clothes are loose enough to be dressed by a future mother (Marriott).
The choice of the maternity wardrobe greatly depends on the season and the area of living. Airy dresses and tunics are suitable for hot summer days, while snowy winters demand warm pants and woolen sweaters. Still, when a pregnant woman continues working, the choice of clothes is conditioned by the gob as well. As a rule, young professional expectant mothers prefer smart casual clothes. Baggy outfits that were supposed to hide the figure are not attractive any longer. The ladies wear the same skirts or dressed, but designed to be comfortable. Layering is also popular. A woman can wear jeans or trousers with a stretchy top and a loose cardigan.
Fashion designers work hard to inventing maternity clothes. The recent fashion magazines represent empire-dresses, Greek maternity dresses, and tulip dresses for pregnant women ( Maternity Clothes ). Apart from dresses which gas been a component of maternity fashion for years, pants and leggings are gaining popularity. It is still a matter of discussion if there is the feminist influence in this tendency. Nevertheless, the trend provides comfort for pregnant women.
Color Direction
It is known that the tastes of pregnant women may change radically. Speaking of colors, there is a tendency among the pregnant women to choose calm pastel colors for casual clothes ( Maternity Clothes ). Consequently, the major colors of maternity fashion are sky blue, light green, light pink, white, and beige. They are good for tops and dresses. For dynamic and expressive ladies red, pink, yellow, magenta and purple colors are also in fashion.
Maternity dresses, which are an integral part of a pregnant womans wardrobe, may be of various colors. The pastel shades would give the image of charm and romance while bright colors would underline the active position. Maternity fashion is not limited to clear colors. The prints are also used. Flowery prints are especially good for summer dresses. Striped and plated fabrics are common for shirts and blouses.
Speaking of the maternity leggings, they have become popular recently. They can be plain and with a creative design when the fabric they are made of repeats jeans or trousers print. On the whole, the maternity clothes of 2017 tend to be of considerate colors like black, dark blue, beige, flesh, khaki, brown or gray ( Maternity Wear ).
Even if light pastel colors prevail, the accessories or shoes may be bright. For example, scarfs, hats and bags will make the outfit perfect. Moreover, the appropriate use of jewelry will finish the image of a young and successful stylish woman.
Color Direction.
Textile Direction
The primary task of maternity fashion designers is to make the clothes comfortable. As a result, the fabrics should be natural. Thus, the most popular fiber of maternity wear is cotton. For example, about 89% of tops bought by the pregnant were made of 60-100% cotton. The situation with bottoms is similar. The fiber used for them was in 75% of cases composed of 60-100% cotton. More than a half of clothes were made of pure cotton ( Maternity Wear: Great Expectations ).
In the cold seasons of autumn and winter season, the clothes for expectant mothers should be not only beautiful and comfortable but also heat-protective ( Maternity Fashion ). During the first months of pregnancy maternity jeans or trousers can be worn. They are usually made of cotton or jersey. During the last months, jeans can be changed for maternity leggings. They are soft and elastic, and the material may be selected with the consideration of weather. For the season of autumn-winter 2017, the experts advise selecting the leggings or tights for future mothers with the fleece lining. These materials will make the women feel warm and comfortable. Another solution for foggy fall mornings or chilly summer evenings may be the knitted clothes. These items are usually oversized sweaters or nice cardigans. They are warm and comfortable. Moreover, they will be stylish if correctly combined.
In warm weather, pregnant women prefer light cotton or linen dresses or tunics. They can be long, short or medium length. The natural fabrics let the skin breathe. Jersey tops and dresses are the favorites of the future mothers. As this fabric is stretchy, it gives the comfort to the body and does not limit the movement.
Textile Direction.
Design Direction: Styling and Details
As a lot of women need to continue their active life during the pregnancy, their clothes should be suitable. For this reason, the fashion designers introduced the maternity pants for pregnant women. They look like the usual pants but have a special elastic belt to support the tummy ( Maternity Fashion ). The jeans of the same style were already popular in 2016. Pregnancy is not a barrier for the active life. Moreover, it displays more femininity and gives the reasons to stay a stylish and effective lady. It is certain that the choice of outfit changes during pregnancy. The beauty and elegance are still important, but comfort should be considered first. Unfortunately, these concepts are often mutually exclusive. Thus, both designers and the pregnant women observe the need for new designs.
Maternity bottoms like leggings and tights are also popular. They seem to be the most practical and comfortable clothes for pregnant women. They give multiple choices for fashionable combinations. For example, mens type shirts worn outside together with maternity pants are stylish. If a woman wants to hide tummy, it is a good idea to wear loose tunics or long sweaters. Oversize T-shirts can camouflage tummy excellently as well. Another idea to distract attention from tummy is the use of various prints on maternity clothes. What is more, jackets and coats may be worn over the basic layer. It helps to create a completed image of a stylish future mother.
Design Direction: Styling and Details.
Themes and Inspiration
The period of pregnancy is a special time for every woman. It is the period of changes both of herself and the surroundings. Pregnancy is an amazing condition. The feelings of joy, excitement and being a part of magic fill the woman, and she wants to express wants miracle desirable to express them externally. The stylish maternity clothes will help a future mother to feel happy and keep smiling.
The pregnant woman herself may be a source of inspiration for designers. Her spirituality and mysteriousness are the themes to disclose in maternity clothing. The task of designers is to make ladys clothes as beautiful as the last month before she became pregnant ( Maternity Wear: Market Potential ).
I consider nature in its pure beauty to be the best inspiration for maternity fashion creators. Tender green grass, deep blue sky, the morning sun beams give ideas for colors. The spring flowers hint on the bright prints. The light wind remembers of the soft fabrics. On the whole, the person who gives birth of a new life is worth of the best possible things. Thus the women may dress the way they like and still be beautiful.
Themes and Inspiration.
Works Cited
Lifestyle Monitor Reports, Maternity Wear: Great Expectations. WGSN. Web.
We have an embarrassment of riches in fashion today, and I think it is good for the whole industry. Even though most designers have too much pride to slack, new designers will keep the standards on their toes. I liked a lot of most of these designers, and some of all, but experience still shows. Even the venue for Chanels last show was both timeless and on the rhythmic moving edge. These creations move like the music. This little bit just floats.
Feathers were very much in at the latest shows and they certainly add to the movement. Diors creations simply floated down the runway. She is a little less wild and a bit more sophisticated. There were many very lovely creations and the idea of creating the animal look was more successful than fur.
Jean Paul Gautier is elegant and flip. His designs stay impressive over time and his choice of textures is exciting. This number sways and swings down the runway and the parts at waist and hips accentuate the femininity of the model.
Diors creationChanels creationJean Paul Gautiers creation
Valentino Clemente Ludovico Garavani can be considered one of the most prominent representatives of the fashion industry. His name, along with the names of Christian Dior and Coco Channel, will always remain as a synonym of style and luxury, with the V being the dream of fashion-conscious women. Valentino Garavani was born on May 11, 1932, in Voghera, Italy, a little town north of Milan. His entry into the world of fashion started with him learning the basics of craft from a local designer Ernestina Salvador and his own aunt, Rosa (Mahalo).
Valentinos career in fashion started through his position as a designer with Jean Desses, which he obtained after he finished his design studies at the schools of the Chambre Syndicale de la Couture Parisienne in Paris (Steele 704). He opened his own fashion house in 1959. The shift that occurred in the fashion industry toward Italy and designing dresses for movie stars and celebrities linked his name with luxury style and opulence.
Fashion Philosophy
Valentinos design philosophy can be seen through his perfectionism and love for beauty and glamour. Another trademark phrase that characterizes Valentinos philosophy in design can be seen through his love to underline beauty in a woman. As he stated right after launching his first collection in Rome, I dont think any man in the world wants to go out with a woman dressed like a boy (Craven). The inspiration for dressing women Valentino drawn from his early experience with watching films, while he was young (CareFair). The love for glamour had also started when he was a teenager, whereas his mother was saying he accepted only expensive things.
The obsession with the women in cinema in his teenage years, along with his love for luxury, glamour, and beauty, formed his design philosophy. Such philosophy can be simply rested as making a woman beautiful & [t]hat and nothing else (Specter 128). In that regard, even though his house-made different styles of clothes, it was dresses designed for celebrities that he was famous for the most. When asked about dressing celebrities, he answered, Who should I dress? Girls in street malls? (Specter 126).
Signature Style
There are many elements to Valentinos signature style, including elegance, beauty, and sexiness. Additionally, one of the essential elements of Valentinos style was opulence, namely represented through meticulous detailing and magnificent embroidery , for which he was known (Davis). Such emphasis in his style was a simple combination of elegance and luxury, in which the latter was never ostentatious. The uniqueness of Valentinos style was also emphasized through such signature elements as sultry delicate laces, rich chiffons and smooth silk and satins (Think Fashion). In addition to specific elements that created his unique style, Valentino was known for his love for the color red, which was named after him Valentino Red . Such color was Valentinos favorite, a lush Mediterranean summer poppy red, more orange than scarlet (Polan and Tredre 130).
Valentino found such color when he was still a student, and it is now attached to the sexy image created by Valentino, or as he himself described, it is a color that sizzles, that draws every eye in the room (130). In an interview to Susannah Frankel, Valentino stated that a woman would wear such color, if she wanted to be for one evening beautiful with lots of seduction, sexy and everything&.. (130).
Other characteristic elements of Valentinos style include his love for lace, cashmere, and fur. The latter can be specifically mentioned in relation to its choice as a material for lingerie. The 1966 lingerie collection stunned the audience with a winter show that included pink and violet furs (Steele 704). The importance of such elements as color and material for the signature Valentino style can be seen through the way his typical collection is described in The New York Times,
A typical Valentino collection can include as many as 50 varieties of red-carpet-worthy silk gowns, in columns, voluptuous wraps, halters, and deeply cut sheaths, with another 50 or so day suits in pastel cashmere or fine lace. And then there is the fur. And paillettes. And beads. And feathers. And more. (The New York Times)
Dominant Historical Period
Valentino retired from the fashion industry in 2008, with more than 45 years in the fashion industry. Although Valentinos influence was evident throughout his entire career in fashion, it can be stated that his most historical dominant period was during the 1960s. In that regard, Valentinos love for the movies, which inspired him to pursue a fashion career, played a significant role in the dominance of the 1960s. The first collection and Salon Valentino was launched in 1960 in Rome (Craven). At that period, many films were shot in Rome with famous film celebrities, such as Elizabeth Taylor, Audrey Hepburn, Sophia Loren, and Gina Lollobrigida. Those films played an important role in the popularization of the Italian fashion industry, a major part of which was Valentino Garavani. Those visits by celebrities contributed to the discovery of Valentino, who was called at the time the Golden Boy of Italian couture and often referred to this time as his sweet life (Bye 15). Notable events at that period include the fashion show on the runway of the Sala Biance in the Palazzo Pitti in Florence in 1962. This event is considered significant for securing the fame of the designer, where for the first time the French Vogue dedicated its cover for Valentino (Steele 704). Collezione Biance in 1968, with white and off-white garment, introducing almost all shades of white and geometrical shapes, was also one of the most remarkable vents that outlined the significance of that period. It should be stated, however, that it was his design of Jacqueline Kennedys dress for the wedding with Aristotle Onassis in 1968 that made him the most acclaimed designer at the moment at that period (704).
It can be concluded that the rise of Valentino to fame in the design industry can be attributed to his attachment to a few particular aspects throughout his career. Such aspects are represented through colors, materials, opulence, and luxury. Maintaining those elements in focus, while experimenting with approaches made dresses desponded by Valentino symbols of a certain lifestyle he represented. His love to beauty and for women to be beautiful is reflected in his work through his all career.
Works Cited
Valentino Retrospective Past Present Future Exhibition . 2008. Resorts World Singapore. Web.
Bye, E. Fashion Design. Berg Publishers, 2010. Print.
CareFair. What Inspires Fashion Great Valentino Garavan . 2006 Carefair. Web.
The emergence and extensive rise of digital technologies has widely enabled organisations and their consumers to interact and connect with one another through the internet platform. According to Deuze (2006, p. 68), utilisation of such has encouraged consumers to share their opinions, feelings and judgements of the products and services offered to their esteemed associations through the online platform with no much efforts.
This has led to emergence of several online cultures as mediums for communication. In the use of online cultures, Yang (2003, p. 50) indicates that blogging is among the oldest and most traditional form, which started to emerge in the late twentieth century. Many authors have varied definitions of blogs due to its complexity.
Technically, as Deuze (2006, p. 69) notes, blogs refer to websites that comprise of discrete entries, posts, or websites with contents written by a blogger. The contents are arranged in a reverse sequential order organised into categories. In the same way as noted, the advancement in technology has impelled a drastic shift in blog usage and concept development (Wright 2005, p. 7).
In general, online culture can be categorised into several contents that include an individuals personal views and news, advertising, and customer services, internal information sharing, insight in professional issues, knowledge management application, and civil engagement function.
As cited in Rocamoran (2011, p. 409), just like other blogging, fashion blogging has exponentially grown across the globe (Denegri-Knott and Molesworth 2013, p. 57). Moreover, numerous researches assert that the fashion industry has many well-known and famous bloggers as compared to other industries such as politics, food, tourism and travel industries.
Fashion bloggers, as empirical research indicates, can influence the industry either directly or indirectly. Furthermore, as Kuhn (2007, p. 20) indicates, bloggers, apart from using their likes and dislikes to influence the way certain brands or products are presented, they can launch new trends in their respective industries and publicly discuss issues that companies are afraid to discuss in public.
Social Influence and Blogging about Fashion
Among the most popular use of online culture is the capability to socialise and form social links with other online users. This is possible regardless of the geographical locations and temporal margins (Rothaermel & Sugiyama 2001, p. 304). Therefore, the internet-based blogs has the potential to form and organise virtual communities with no limitation to any geographical phenomenal.
As Deuze (2006, p. 72) notes, online cultural influence models affect several fashions blogging variables, such as the community norms, social identities, and mutual agreements and accommodation in the virtual groups. These, in sum, influence individual group members decision-making and involvement within an organisation.
According to Rothaermel and Sugiyama (2001, p. 304), these virtual communities can influence the choice of their members in purchasing products and services in spite of how recognisable the members are to the final users. Similarly, blogs like any other online cultures rely on numbers in the virtual communities that can repeatedly read their blog postings (Scullion et al. 2013, p. 73).
The social influence nature of the online cultures allows for the formation of large virtual communities who might influence the purchase of their products or services (Huang, Chou, and Lin 2008, p. 354).
The blogs, as Huang, Chou, and Lin (2008, p. 354) note, allows for individuals with common interest to come together to share information and ideas, as well as to gain knowledge from other members of the virtual community, fashion bloggers can utilise the social influence tendency of the online culture to reach a large number of audiences.
In addition, as Baym and Zhang (2004, p. 312 ) points out, consumers tend to trust the information generated by fellow consumers on the effectiveness of products and services more than information that come the product producers or services providers.
For that reason, fashion bloggers can capitalise on the social influence tendency of the online culture in order to gain more customers from the positive influence of their virtual group members (Molesworth and Denegri-Knott 2013, p. 62).
In blogging about fashion, the bloggers have to focus on increasing the quality of their blogs quality. In the process, bloggers can use interactions and comments to gauge the success of their posts. Moreover, blogs should have unique content. This brings out the extensive research that a blogger has done. If a fashion blogger uses clear pictures in the blogs, there is development of strong emotional attachment with the target group.
Participations in the online culture enable people to access variety of products at their respective locations. Even though the blogging concept provides a virtual emotional attachment to the viewers, it has been able to not only supplement the customers off-line culture, but also alter the entire purchase dynamics among consumers (Molesworth and Denegri-Knott 2012, p. 97).
The blogging culture has made it possible to share views and experiences of the diaspora. In essence, the internet culture in personal blogs brings out the nature of individuality. In the process, the blogging culture can alter the nature of consumer desires. Clearly, the approach has a great influence in the society; it changes the identity of different fashion brands.
As a result, consumers relationships with the brands become stronger than when using the usual marketing strategies. The use of internet to reach consumers increases information retention among consumers, as they are able to access information at their various locations.
Authenticity
Data from literature and fashion bloggers library, as Yang (2003, p. 51) notes, indicates that the success of a blogger is evaluated on the perception of its authenticity or uniqueness of the blogs voice.
Therefore, authenticity as in the online culture, as Huang, Chou, and Lin (2008, p. 352) state, has an enormous effect on pre-purchase activities since consumers can bargain for products online by accessing the companys blogs in addition to the valuable and reliable reviews about the products from previous users.
Bloggers need to pay much attention to the authenticity of their blogs in order to capture the market, especially for the fashion industry as in this case (Molesworth and Denegri-Knott 2008, p. 379). For that reason, successful fashion bloggers must show the credibility and value of their blogs. Or else, their blogs will not attract and retain readership and advertisers (Molesworth and Denegri-Knott 2012, p. 95).
In order to accomplish this authenticity, fashion bloggers need to present sentiments based on a vast understanding of fashion and flair before presenting it to their target market segment. Moreover, as Rocamoran (2011, p. 409) indicates, authenticity of bloggers enable them to gain popularity in the industry, thereby enabling the bloggers to attend popular events where they are photographed.
When such information is included in the bloggers archives, it increases his/her sales. In the online culture, authenticity of the bloggers makes it easier to access a fashion blog since consumers have the opportunity to search information using a bloggers name, thus popularising the blogger. As a result, popular hence ease the access to the companys brands (Watkins and Molesworth 2012, p. 168).
Frequency and timely updates
Fashion blogging, as Rothaermel & Sugiyama (2001, p. 312) point out, is a fast-pacing industry. Therefore, for a fashion blogger to obtain and retain audience in the crowded online culture and information sphere, the blogger needs to give a timely and frequent updates as possible.
According to Huang, Chou, and Lin (2008, p. 351) as the technology such as online culture is known to be susceptible to changes, fashion bloggers aiming to be ahead in the global market can utilise this attribute to market their products or services. Likewise, bloggers can use their blogs to inform their audience of upcoming events or live-stream shows to make known their products or services to consumers.
This increases the viewership in order to popularise their services. As supported by Yang (2003, p. 53), the timely updates give bloggers the opportunity to inform their esteemed consumers in time. Therefore, just as the name suggest their consumers can move with the current trends and fashions in the industry.
In the same manner, the timely nature of online culture offers bloggers a chance to inform the fashion cliques on the new trends and fashions, hence they remain updated resulting in a high turnout of clients to the bloggers.
According to Vilopponen, Winter and Sundqvist (2006, p.68), online culture has led to a shift of the world in buying and selling of goods and services, which has been dictated by sellers to a more friendly style where power lies with the buyers.
Because of the online culture, Rocamoran (2011, p. 413) points out that consumers have the choice to research, and compare different companies products or services in order to find the most suitable option.
Therefore, frequent updates on blogs, as Kahn and Kellner (2004, p. 87) cite, allow for an easy access of information about the blogs. Since online culture presents a chance that enables frequent updates, fashion bloggers who intends to run the market should utilise this approach (Denegri-Knott and Molesworth 2009, p. 309).
Interactivity
With the emergence of online cultures, consumers are capable of passing their opinions about products to other intended users by leaving comments about the products on the companys blogs. The comments assist in attracting thousands of viewers within a short duration, as they guide traffic to the blogs.
The use of online culture interaction, as Vilopponen, Winter, and Sundqvist (2006, p.72) indicate, plays a major role in keeping the medium sparkling and active. In essence, this determines the popularity of the medium. Just like other, social networks, blogs do not filter the content on their comment sections.
According to Rocamoran (2011, p. 420), the blogs contains an extensive amount of comments with negative and positive information. Since bloggers do not monitor the comments section, and the fact that users are not obliged to register before they leave their comments, and the comments are posted directly onto the blogs walls, there are great risk of spreading negative information (Denegri-Knott and Molesworth 2010, 67).
Therefore, it is important for bloggers to note that whereas a positive comment is good for marketing, as well as boosts a companys brands in order to increase the companys sales, equally, negative comments can be disastrous to the companys image (Kahn and Kellner 2004, p. 88).
The online users of the company blogs, as Huang, Chou, and Lin (2008, p. 352) indicate, have the chance to read and analyse other consumers experiences on a specific products or brands from the online store. This can help in getting the consumers attentions and heighten their interests for the product (Molesworth 2012, p. 48).
On the other hand, since those commenting on blogs are mostly individuals without any stake in the company, and are free to share their opinions, the reviews can leave very negative comments (Molesworth, Jenkins, and Eccles 2011, p. 152). Since in online cultures messages can spread faster, Kahn and Kellner (2004, p. 88) suggest that bloggers should do their best to satisfy their consumers to ensure they give a positive comment.
Effects of Blogs on the Consumer Buying Behaviours
According to Rocamoran (2011, p. 422), the use of social media by consumers as a source of information to consider what to purchase and where to do the purchase from the online stores is tremendously growing globally. However, numerous studies assert that buying the behaviour that occurs in blogs differs considerably from that in other social medium forms.
In support of this view, Huang, Chou, and Lin (2008, p. 353) indicate that blogs represent different forms of marketing that may or may not please their target market. This is because marketing efforts found in blogs can hugely influence consumers and the buying process itself, hence necessitating the need for reviews in order to make informed choices (Rocamoran (2011, p. 423)
Conclusion
From the analysis, blogs, in terms of a marketing tool, is advantageous in that consumers do not regard it as an aggressive method, thus making them react positively in most occasions (Denegri-Knott and Molesworth 2010, p. 125). Therefore, blogs can express the bloggers opinion, uphold discount and, at the same time, give their audience direct links to the internet archives, and still preserve a neutral point of view to its user.
This makes fashion bloggers garner an enormous advantage to online retail stores by enabling economical and eye-catching marketing with limited interference from the outside sources that may reverse the opinions of valued customers.
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Fashion is an important feature which makes a clear definition of the prevailing idealism and zeitgeist of a certain period. It is through fashion that people express themselves, who they are, and what kind of people they are. Fashion gives people an avenue for valuing and appreciating the aesthetic values of things and the environment. This is probably one reason why fashion is considered as an art over the years. Fashion and art shares a common ground, the same purpose and jives together most especially in the aspect of beauty and style.
The decade of the 1990s was a period wherein great changes have occurred in the modern world. It acted as the transition period of almost all aspects. The decade served as the kick off of the twentieth century and therefore became a time when many ideas and trends existed.
One of the facets wherein great transition has been observed was fashion. From a more consuming and conspicuous style of the 1980s, a more defined and individualized style of dressing and composing oneself emerged in the succeeding decade. During the 1980s, the most common styles which we can think of are those of a woman wearing oversized shoulder pads and big embellished shirts (Thomas, n. d.). In the next decade, these conceptions of 1980s fashion became less used until they became phased out in the industry and in the world of fashion.
However, this certain decade was also coined as the anti-fashion because of several reasons. Anti-fashion refers to the rejection of the mainstream fashion style. It is a type of deviance which may tend to be defiant and offensive (Anti-Fashion, 2005). It was also a time when many fashion trends overlapped each other and contradicted other emerging styles. Because of this, many liberal ideas and images arose. Furthermore, this led to the concept that the 1990s period was a time when the boundary between fashion and art became blurred.
One factor that brought about this struggle in the world of fashion was the idea of individualism. During this decade, many fashion enthusiasts were not anymore considering what was popular and in. More emphasis was given on the persons individual sense of style and permanent fashion was not common that time. Because of this, many people, most especially the stylists came up with catchy and attention-seeking sense of style. This happened to the extent that many styles are already shocking and outrageous in the sense that it already promotes unhealthful acts and behaviors among the consumers, most especially the youth.
The dominant styles of clothes during the 1990s decade were those fit and less-stiff styles compared to that of the 1980s. Also, more focus is given on the use of preppy clothes, most especially for females, rather than tight and boxy outfits (Proctor, 2006). Sporty outfit have been given emphasis, most especially with the production of Calvin Klein and Tommy Hilfiger outfits which looks either casual or formal- making style more easy and convenient. Even prominent personalities, like US President Bill Clinton, are not afraid of being on camera even in relaxed tees and shorts. Even in workplaces, the adoption of wearing casual clothes in offices started and spread out from this decade. Because of these trends, relaxed attitudes when it comes to fashion were at large. This characteristic of 1990s decade is one positive facet of the story. However, there were more turmoil and inconveniences that happened during the decade compared to these good outlooks.
One lamentation of fashion during the 1990s was the emergence of the grunge music with its complement style (American Decades, 2005). Grunge music refers to the rock and hard core music which were portrayed by rock icons like Pearl Jam and Nirvana. From then on, the rocker look became a talk of the town. Many were adopting the dark clothes and plaid flannel shirts. Appreciation of this rock type of music is not something to castigate since it is a good thing that people came to value the art of music during those times. However, the age reached to an extent which is already intolerable- most especially in teenagers. Things like growing long hairs for both genders, piercing all over the body, messy look and style- these are unhealthy to the public most especially to the teens who are at their critical stage of life.
Another controversial thing about fashion is the use and promotion of furs by fashion designers and cloth-lines. While some fashion companies discourage its use, still, many are looking for it and many are using it because of its glamorous look and royal-like symbolism. However, due to the interventions of some animal-rights agencies and movements, the use of fur was starting to decline before it even reaches the climax (Drake, 2000).
Among the most popular designers during the decade were Vivienne Westwood and Jean-Paul Gaultier. Westwoods popularity and career started when she first met Malcom McLaren, the lead man of Sex Pistols- who would later play a big role in her career. Having a creative and sophisticated outlook in fashion, Westwood played with fashion and fashion paid her back with stardom. Westwood came to be known as one of the most controversial fashion designers especially in her early years in the fashion scene.
McLaren, Westwoods husband, used her designs and creations in his bands debut gig and as expected, fans and viewers were really outraged by the style of their wardrobes (HotCelebrity.co.uk). Westwood surprised the general public with her outrageous and shocking designs of sexually promoting and explicit styles. This led to many controversies and indignations from the conformists. However, it was unexpected that people, especially punk lovers started mimicking their style and patronized the style of the Sex Pistols. There was a great diversion from the grunge style, which was emergent during the 1990s, into the punk style which was more obscene in all terms. Teenagers started to gather in her store called Seditionaries/SEX and this started the limelight of her career (Fashion Case Study: Vivienne Westwood).
As she continued her career in the 1990s, her knowledge about history and art became her edge as she featured some historical themes, to which she added the punk and moderns style. In those designs, Westwood further made her impression with her tagline Fashion is about sex. Bearing this credo, her line of clothes were marked and resented by advocates of conservative people. Instead of conforming with the descent styles of fashion, Westwood took a great risk in playing with her designs and portraying explicit looks and sexually promiscuous modes of fashion. Her style, also known as the non-conformist style (Menkes, 2004) proved to be a manifestation of the blurry bond between fashion and art. Until today, Westwoods creations still never ceases to stir up the public because of her skillful yet vulgar presentation of her own style.
Jean-Paul Gaultier, a contemporary designer of Westwood, is considered as fashions enfant terrible or bad boy. He was a fashion provocateur who, like Westwood, is fond of playing with clothes and fashion (Fashion Case Study: Jean-Paul Gaultier). Yet, he is one of those risk takers who became very successful in their careers.
Gaultier is famous for his playful styles in presenting fashion like cross dressing models. Men are dressed in female clothes and women are dressed in male outfits. HE gained both critical acclamations and resentments because of his sexually oriented and explicit materials being ramped and presented to the general public. One of Gaultiers most famous works is Madonnas conical bra used in her Blond Ambitions Tour. Gaultier also collaborated with famous artists and designed many famous outfits for celebrities around the globe.
Unlike other fashion designers, Gaultier produced haute-couture not only for the women but for the men as well. He emphasized the equality of gender, so he says. Although his works may be considered at least over the edge, we cannot deny that he is a talented and flared designer (Modern Fashion Encyclopedia).
Gaultiers creations were both highly anticipated and castigated just like Westwoods because of their practices in deviating the norms of the society in terms of decent fashion. Usually, Gaultier uses unlikely models in his fashion shows like fat and obese women wearing skimpy outfits which would really catch the attention of the public. The use of elderly models with tattoos and piercing is also one of his unconventional styles of presenting his line of clothes. He also emphasized cross dressing and cross-breeding of clothes. Gaultier made use of his knowledge of historical fashion and combined several fashions from different eras- all in one design. This way, many fashion enthusiasts and collectors were impressed and patronized his clothes. Whats more is that Gaultiers rate is very reasonable unlike other creations of prominent designers. These qualities of Gaultier made him loved by the fashion-oriented people and negatively-criticized by the conservative advocates.
The works of these two famous designers are concrete examples of how art and fashions link became blurred and how these two aspects- which are supposed to be compact suddenly became two separate and contradicting entities. Art and fashions strong bond suddenly became brittle and started to develop conflict over time. Because of the fast emerging number of designers who are enthusiastic about breaking into the world of fashion designing, each of them created their own mark which they think would make an impression about their styles.
Gaultiers and Westwoods efforts of breaking into the fashion scene were a wise and unusual act. It is wise and unusual in a sense that they really thought of their strategy well- that is, using the unconventional and non-conformist style of clothing and manner of presenting them to the general public. However, this doesnt mean that their works are worth the commendations and acclamations because we cannot deny that their sense of style also affected the way of living of people. Everything has a negative side as so are the work of Westwood and Gaultier.
During the 1990s, the effect of these fashion styles were considered more detrimental than beneficial because of the provocative and perverse ideas being conveyed by the clothes and fashion shows to the general public. These fashion designers are a blessing to the fashion industry and at the same time, they are something to lament when the perspective shifts into morality and decency. Designers during this decade were on the hot-seat because of these issues and controversies; however, because of their enthusiasm and dedication to their work, they can easily justify their modes and meet both ends of their fashions.
Fashion is an important facet of history. It is the factor which distinct one era from another. It identifies the peoples social orientation, prevailing ideas, and most of all the common morale of the people. In terms of the 1990s decade, there were many factors to consider and justify the notion that the boundary between fashion and art became blurred.
Individualism was at large and everyone wasnt afraid of styling themselves the way they wanted to. Conforming to the common style wasnt a big issue then- it only emerged in the later part of the decade. Because of individualism, many different styles emerged and came to the eyes of the public. The response of the designers to this trend of individualism was to produce crafts which would catch the attention of the public. This gave birth to the non-conformist designers who were a manifestation of the widening gap between fashion and art.
Fashion and art are on the verge of becoming two separate entities and therefore, the 1990s decade was a big challenge to maintain the mutual bond between the two aspects. Until these days, there are still remnants of the 1990s fashion. We can still see traces of these fashions which are artistic yet obscene. However, due to the flexibility of the people for compliance and the ability to transcend from this challenge of the period, the link between art and fashion is gradually becoming obvious, once again. And because of the successful crossing from the twentieth to the twenty-first century, these challenges with regards to fashion were nevertheless considered as important milestones of the previous century toward the new millennium.
Fashion is often called one of the types of conceptual art through the combination of different elements (clothing, accessories, color solutions) it creates a single, individual image. Therefore, with the emergence of the Modern style, which replaced obsolete trends in art, the most famous couturiers of the early twentieth century began to embody its main canons in clothing collections (Goody 126). The legacy of the Modern style is many-sided, complex, contains not only undeniable values, artistic discoveries but also evidence of unresolved aesthetic contradictions. Answering the question whether fashion is a product of Modernism it should be stated that present day fashion is based on the main principles and ideas of Modernism, but also depicts other periods.
Modern the name of the style, which was widely used in the art of the late XIX and early XX centuries. The main content of the Modern was the desire of artists to contrast their creativity with the historicism and eclecticism of art of the second half of the XIX century. The artists refused of straight lines and angles for more natural lines; they were interested in new technologies and flowering of applied art. (Childs 7).
Modern style in clothes: the desire for practicality
The fashion of modernism passed in its development three stages. The first stage (1898-1900) assumed the correct posture of the figure, expansion of the sleeves from the wrist to the shoulders. The skirt had the shape of a bell, elongated and trimmed with frills. The second stage (1901-1905) is characterized by the S-silhouette, large hats, a natural shoulder line, extended sleeves, and richly decorated skirt.
The third stage (1905-1907) was distinguished by a shortened skirt, slightly opening the toe of the shoes and practically devoid of decor, and the return of the silhouette to a normal vertical position. Since 1903, dresses had become freer; corsets had gradually disappeared. Upper clothes were supplemented with hats-current, shoes, and boots with lacing and heels, umbrellas with frills, walking-sticks, gloves, mitts.
Underwear of crispy fabric was very fashionable because of rustling sounds, which together with a strong smell of perfume, created the impression of airiness. Over evening dresses with a deep neckline they wore a kimono coat. The most refined part of the fashion was, undoubtedly, jewelry. No period in the history of art gave it such importance as modernism. Jewelry not only complemented the costume but also became a kind of an emblem, a symbol, forming a certain female type (Butor 271).
Outstanding fashion figures of the period of modernism
The French couturier Paul Poiret became a new fashionable reformer who insisted on releasing the ladies body from the suffocating corset and changing rigid skeleton skirts to dresses and skirts of a softer cut with flowing fabrics and free lines. In addition to old fashion, Poiret introduced in Europe, in particular in France, the features of the Japanese national costume, which surprisingly harmoniously fit into the European dress. So in the western suit began to take root kimono, which found its use both in home clothes and in secular dresses (Carver 302). Hobble skirt was the invention of Poiret and another bow to the ethnic fashion of the East (Hu 89). This skirt contrasted sharply with the romantic, lush skirt-bell, was fitting to the body to the ankles and did not allow to make full steps, dooming women to a small, seminal gait. The volume of sleeves gradually disappeared; they were more and more adjacent to the hand.
The entire period of the Modern covered the work of the Frenchwoman Jeanne Paquin. Her fashion house opened in 1891 and very soon gained popularity among aristocrats, ordering her evening dresses. She worked in a rather conservative style, offering outfits of the S-shaped silhouette, but she became the first woman in the world of fashion to achieve international recognition and was even awarded the Order of the Legion of Honor (Bellow 129).
It can not be said that the fashion designers of this time made a revolution, forcing women to remove the shackles of tight corsets and abandon the crinolines for light, elegant outfits. The image of modern women became intermediate, when there was a gradual and painless refusal from fanciful, sometimes romantic, but not always comfortable volumes with the introduction of clean lines, falling fabrics with a general tendency towards minimalism. Modern fashion is not a pure product of Modernism, but it is largely based on its principles and ideas.
Works Cited
Bellow, Juliet. Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde. Ashgate Publishing, Ltd., 2013.
Butor, Michel, et al. Fashion and the Modern. Art in Translation, vol. 7, no. 2, 2015, pp. 266-281.
Carver, Beci. What Women Want: The Modernist Kimono. Modernism/modernity, vol. 22, no. 2, 2015, pp. 303-314.
Childs, Peter. Modernism. Routledge, 2016.
Goody, Alex. Jessica Burstein Cold Modernism: Literature, Fashion, Art. University Park: Pennsylvania State University Press, vol. 112, no.1, 2014, pp. 126-128.
Hu, Shaoying. Hanfu Elements in Modern Fashion Design and Innovation. Asian Social Science, vol. 10, no. 13, 2014, p. 89.
The fashion and design industry is taking a leading role in promoting eco-friendly and sustainable fashion in modern society. According to Gwilt, scientists have warned the business community that their activities may have a devastating impact on the environment.1 Issues such as climate change and global warming were not taken seriously in the recent past because the global society had not contemplated their real impact on our environment and the lives of people.
However, the increasing cases of destructive cyclones, prolonged droughts that are often followed by heavy rains and destructive floods, increase cases of desertification, and increasing level of coastline waters caused by the melting of polar ice indicate that global warming and climate change are real concerns whose consequences cannot be ignored.
Stakeholders in various sectors have learned that this issue of environmental conservation and sustainability cannot be ignored anymore. The fashion and design industry has been part of the past trends that led to massive destruction of the environment. The players in this industry created a trend where shoes, clothes, jewelry, and such related items do not stay in fashion for long. The more new designs are created, the more people shift from using one line of the products to the new one.
The impact was a massive amount of fashion wear-related wastes. A time has come when players in this industry must take lead in promoting eco-friendly and sustainable practices in the fashion industry. As they try to meet the ever-changing needs of customers in the market, one of the guiding principles that should inform their actions is the need to protect the environment. In this paper, the aim is to discuss the eco-friendly and sustainable practices in the fashion industry and forces that may affect the efforts of the stakeholders in this industry as they try to embrace the practice.
Research Goals
The concept of sustainability and eco-friendly practices are gaining popularity among scholars and in the business community. It is becoming clear that the natural environment has its limits and its ability to sustain human activities and human existence directly depends on our current practices. The more the environment becomes polluted, the more it is becoming sustainable. The only way of ensuring that the sustainability of the environment is assured is to embrace eco-friendly practices. The following are the specific goals that the researcher seeks to achieve by the end of this study.
To determine the role played by design industry in promoting eco-friendly practices in fashion;
To identify the historic, social, economic, and cultural contexts of eco-friendly and sustainable fashion;
To determine the impact of eco-friendly practices on the art and fashion industry.
Discussion
The global community currently appreciates the fact that our environment can only be sustainable if there is a genuine effort to conserve it through eco-friendly practices. As Rinaldi and Testa state, when meeting the current needs, it is critical to ensure that the approach used does not jeopardize the ability of future generations to meet their own needs.2 The industrial revolution changed the world completely, especially when coal and oil became major sources of fuel in the industrial sector.
Little has changed in terms of finding alternative eco-friendly energy sources. However, the environment has been massively affected by the trend of constant pollution from various sectors of the economy. The fashion and design industry, just like many other industries, has realized that the current trend is unsustainable and an urgent solution must be found to address this problem. That is why designers all over the world are now coming up with designs, which can last long and pose minimal threat to the ecosystem.
Historical Context
Historically, eco-friendly and sustainable fashion has taken a great path to be what it is today. In the past, designers have tried to be very creative, but their central focus was to come up with products that meet the expectations of their trendy customers. The issue of environmental conservation was never considered important because the business community did not believe in it much. However, the trend started changing in the late 20th century when the impact of climate change and global warming started becoming clear.
Scientists explained that the massive emission of greenhouse gases, destruction of the vegetative cover, and constant environmental pollution by various contaminants and non-biodegradable substances were the leading causes of climate change. In the 21st century, the stakeholders in various sectors of the economy in the United States, and many other countries around the world, are now trying to find a solution to the problem of environmental pollution. The government is enacting laws to regulate emissions and effluents from the companies. Designers on the other hand are now embracing eco-friendly practices as a way of enhancing sustainability.
Social Context
The social forces have also played a role in promoting eco-friendly and sustainable design practices in design. The society is becoming conscious of the dangers of environmental pollution and the importance of engaging in eco-friendly practices. Gwilt says that eco-friendly designs in the fashion industry are becoming a popular trend in most of the developed economies around the world.3 This is so because the majority of the middle class have a college education.
They understand the need to conserve the environment by engaging in sustainable practices. Their growing support for eco-friendly shoes, clothes, bags, houses, among others is creating a new wave that is defining the trend in the design industry. Designers are now keen on coming up with eco-friendly products because of the social forces in the current society. Anyone wearing an eco-friendly shoe or dress is considered trendy. As such, the manufacturers have to shift their focus to what has become popular in the market.
The designers have to ensure that they use materials that customers prefer. This is specifically the case among teenagers and young adults. Figure 2 shows some of the dresses, which have become very popular among teenagers and young adults. The dresses are simple in design, but the fact that they are made of materials that do not pose any significant threat to the environment makes them very popular.
The problem with this market segment is that once they shift from one design to another, they completely avoid the other designs considered old fashion. It means that companies must now find ways of producing cloths, which are eco-friendly because it is the current trend. It is a massive force that has played a significant role in promoting eco-friendly and sustainable practices in the design industry within the country and abroad.
Economic Context
The economic forces have driven companies to shift their production strategies and practices in line with emerging trends. According to Gwilt, in the real estate industry, eco-friendly house designs are in great demand in North America, Europe, and parts of Asia-Pacific.4 Customers are willing to pay high prices for designs that can ensure that houses are developed in a way that enables them to integrate with the natural environment. The economic benefits of designing these eco-friendly houses are good motivation for the designers to embrace the new practice. In the apparel industry, eco-friendly shoes, clothes, and bags are fetching higher prices than the older designs made of non-biodegradable materials.
Other than the growing demand for eco-friendly products in the modern market, there is also the issue of sustainability. There are three pillars of sustainability, which are the planet, people, and profits. A firm cant achieve success if any of these pillars is not sustainable. A company may have impressive profits and satisfied customers, but if the environment within which it is operating is chocking with pollutants, then at one point its operations may slowly stop. To stop such an eventuality, companies are keen on protecting their environment. It is the only way of securing their future operations irrespective of the industry where they operate.
Cultural Context
The cultural forces are also playing a critical role in promoting eco-friendly and sustainable practices in the fashion industry. A new culture is emerging that is very sensitive towards environmental conservation. Corporate social responsibility is currently associated with practices that conserve the environment.5 The culture of giving back to the environment is pushing stakeholders in the fashion industry to be conscious about the materials used in their designs.
Having long-lasting shoes or dresses is not only meant to benefit customers financially but also to conserve the environment. The longer the shoes last, the lesser the amount of waste that is created. This is a new cultural practice that companies are forced to embrace. In the past, their focus was to have products that do not last long in fashion as a way of increasing their sales and profitability. However, companies are now finding alternative ways of boosting their sales and profitability without exposing the environment to an uncontrollable amount of waste.
The practice is gaining massive popularity in various industries as firms try to promote their image in the market. It is important to look at some of the design-related industries where the practice is currently common. The following are some of the sectors that have taken leading roles in promoting eco-friendly and sustainable practices.
Clothing Industry
The clothing industry is playing a critical role in ensuring its practices do not hurt the ecosystem. Tai says eco-friendly clothing has come a long way from those foggy hippie days filled with crunchy, hemp sandals and patchouli-smelling maxis. 6 Designers are now coming up with clothes to stand the test of time. One of the criticisms that have always been leveled against the fashion industry by environmental conservationists is that most of the fashionable trends do not last in the market.
Fashion designers are keen on promoting sales and the only way is to introduce new products in the market at regular intervals. Fashion enthusiasts are often keen on changing from one form of clothing to another as they try to remain trendy. The problem with such practices is that clothes, which are still new, find their way into dumpsites. Some of these fashion enthusiasts believe that they cannot wear cloth that is out of fashion. It means that the moment a design they are currently using is replaced by a new design, then they have to replace them immediately. To deal with this criticism, designers are now coming up with new designs that can last longer7. This is meant to ensure that consumers use these products for a longer period to reduce the amount of waste arising from the industry.
The clothing industry has also faced criticism from environmental experts about the use of non-biodegradable materials. Some of these materials cannot be easily recycled when they have been used, making them a serious threat to the environment. Just like plastic waste, these non-biodegradable materials can only be destroyed by burning. However, they release greenhouse gases into the atmosphere during such processes. It has become necessary for the designers to find materials that do not pose any significant threat to the environment. According to Gwilt, efforts have been put in place to find eco-friendly materials for cloths.8
Figures 1 and 2 show some of the modern fashion dresses made of eco-friendly materials. The materials can last long while in use, but when disposed of, they pose no significant threat to the environment. This new trend is meant to enhance sustainability in this industry of fashion and design. The designers can now come up with new designs knowing that the materials used cannot pose a threat to the environment. Some of these eco-friendly materials can be recycled to produce garments, which can be used for various purposes.
According to Rinaldi and Testa, when the concept of eco-friendly fashion emerged, it was positively received by the upper-class members who understand the real impact of climate change on the sustainability of the environment.9
At first, it was expensive to come up with eco-friendly designs, as the concept was still new. However, this is changing as the stakeholders find ways of mechanizing the entire process of developing eco-friendly cloths. As Dunst says, many people are under the impression that only the upper class can afford eco-friendly fashion. 10 This wrong perception has created a situation where the lower middle class and the poor give less priority to the concept of eco-friendly clothing. They know such cloths exist, but they associate them with the rich. As such, they give little priority to the possibility of owning such cloths.
Such perceptions should be eliminated through awareness creation. Society needs to be empowered so that everyone can understand that eco-friendly fashion is affordable and is the future of the clothing industry as the environment becomes increasingly delicate. Figure 2 shows the eco-friendly cloths, which are very affordable.
Clothing companies have realized that the ground is shifting and the market is now demanding eco-friendly products. As Claire says, mega brands now recognize how important sustainable fashion is to their consumers. 11 These companies have realized that embracing eco-friendly practices not only gives that a positive corporate image but it also helps them in enhancing their sustainability in the market. Companies such as Victoria Secrete have come up with eco-friendly products as a sign of their commitment towards environmental conservation. Figure 3 below shows a trendy dress and a bag made of sustainable materials. It is a sign that companies are responding positively to the need for them to embrace sustainable practices in their business activities.
Footwear Industry
The footwear industry is also playing a critical role in ensuring that fashion becomes sustainable. Sports shoes are increasingly becoming popular not only among professional athletes but also among the general public who are keen on keeping fit or among those who prefer wearing sports shoes regularly because of comfort. However, some of these shoes are made of non-biodegradable materials. Designers are trying to come up with shoes made of environmentally friendly materials.
Figure 4 below shows one of the new show designs made of environmentally friendly designs. It is a sign of the commitment of these companies towards coming up with products, which can be used without worrying about their impact on the environment. Shoe designers are also appreciating the relevance of developing shoes that can last for long, other than the material is eco-friendly. According to Rinaldi and Testa, rubber shoes remain very popular in both developed and developing countries.12
However, manufacturers have to find a way of ensuring that the materials used are safe for the environment once the product is finally disposed of. Gwilt says that the practice of exporting used shoes as second-hand products to the developing economies is still popular in developed countries.13 The practice makes it possible for the local society in the United States and other developed countries to have less to worry about when it comes to disposing of the used shoes. However, the practice of handing over the problem to the developing countries is not sustainable. A proper solution is necessary for terms of the materials used.
Other Fashion Industries
Eco-friendly practices are becoming common in many other disciplines of design. The real estate industry is one of the areas where stakeholders are trying to come up with structures that do not pose a significant threat to the environment. According to Gwilt, the real estate industry is booming in the United States.14 However, it is having serious negative consequences as forests have to be cleared to create space for houses.
Architects and engineers are now under great pressure to construct houses in a way that does not lead to ecological destruction. Architects are now trying the design housing units, which are eco-friendly. These new designs are meant to ensure that houses can be constructed without significantly destroying the vegetative cover. Figure 5 below shows one such eco-friendly house designs. The house is designed in a manner that fits perfectly well within the natural environment with the least possible destruction.
Massive excavation and clearing of the forest are avoided as much as possible. Instead, the house is made to fit and be part of the natural environment in a very unique way, as shown in figure 5. Such unique eco-friendly housing designs are becoming common in various parts of the world. The demand for such houses is also growing, especially among the rich who are keen on moving away from the highly populated and polluted cities around the world.
People want to stay close to nature where the air is not polluted with poisonous emissions from vehicles and heavy machines. The growing demand for such design is the proper motivation for the architects to engage in eco-friendly practices in this industry. The interior designers are also under pressure to bring nature to the living room but in a way, that poses no threat to human lives. They are forced to replace some of the synthetic materials, which have been in use for years in this industry, with new ones considered eco-friendly.
Conclusion
Global warming and climate change are realities with devastating consequences to the environment, just as scientists had warned. From North America to Europe, South America, Asia-Pacific, and Africa, the dangers of climate, change is becoming clearer than ever before. Africa is experiencing abnormal cases of drought and desertification. In the Americas and Asia, destructive cyclones are becoming common, leaving many people dead, many others injured, and property worth millions destroyed.
Flooding is becoming a major problem in various parts of the world. It has become critical for designers to play a role in protecting the environment. Fashion is changing from what it was in the past where beauty and functionality were the only guiding principle, to a modern society where environmental factors are also considered part of fashion. From clothing to real estate, designers are now keen on embracing eco-friendly practices to enhance sustainability.
Images
Figure 1: Eco-friendly sweater (The Good Trade 1).Figure 2: Eco-friendly men and women cloths (Dunst 1).Figure 3: Eco-friendly dress and bag Source (Claire 1).Figure 4: Eco-friendly shoes Source (Claire 1).Figure 5: Eco-friendly house Source (Liebschner 1).
Works Cited
Claire, Marie. The Stylish, Eco-Friendly And Ethical Fashion Brands You Need To Know About. ASOS Eco. 2017. Web.
Dunst, Nichole. The 16 Most Affordable Places to Buy Sustainable, Eco-Friendly, and Ethical Fashion.Eco Cult. 2015. Web.
Gwilt, Alison. A Practical Guide to Sustainable Fashion. Fairchild Books, 2014.
Rinaldi, Francesca, and Salvo Testa. The Responsible Fashion Company: Integrating Ethics and Aesthetics in the Value Chain. McMillan, 2015.
Sinha, Pammi, et al. Remanufactured Fashion. Springer, 2016.
Tai, Cordelia. 27 Eco-Fashion Brands Were Obsessed With. The Fashion Spot. 2017. Web.
Works Cited for Images
Claire, Marie. The Stylish, Eco-Friendly And Ethical Fashion Brands You Need To Know About. ASOS Eco. 2017. Web.
Dunst, Nichole. The 16 Most Affordable Places to Buy Sustainable, Eco-Friendly, and Ethical Fashion. Eco Cult. 2015. Web.
The medieval town was a common outfit normally worn by the women within the upper class of medieval English society. As seen in the example Genealogy of Henry II (1440-1514) there are varying examples of women wearing the medieval gown in what seems to be a fairly standard design. The design consists of long sleeves that are attached to a long one-piece outfit that just slightly shows the neck and upper half of the womans body but entirely covers up her lower half.
It is quite interesting to note that due to the genealogy example utilized, we can see a slight evolution in the style of medieval gown wherein the sleeves while remaining the same length appear to be getting longer and wider. In comparison, the modern-day version of the medieval gown seems to be an overly exaggerated version of the original. First off, while it is true that the style of the original version emphasized long sleeves, they were not as large as compared to their modern-day counterparts.
The sleeves on the modern-day contemporary version seem to be far too exaggerated to be functional. Not only that, while it may be true that the original version of the medieval gown had several layers, the original example showed that the innermost layer only showed itself on the top of the outfit near the neck while the rest of the layers that were worn were covered up by the outermost layer. In comparison, the modern-day version clearly shows the inner layer with the separation beginning at the navel of the model.
Considering the overly conservative nature of members of the upper class during the Middle Ages, such a style would have been relatively unheard of and, as such, the style of the modern-day medieval gown reflects the more liberal thinking that exemplifies present-day styles and attitudes.
16th Century
Painted sometime between 1511 and 1563, this painting of Lady Elizabeth Ughtred-Cromwell, the younger sister of Queen Jane Seymour, shows one of the distinct styles of the 16th century. What is immediately apparent from the given example is that the style of the upper dress makes a person look huge. The sleeves are overly large and seemed to be stuffed with some sort of cloth. The chest also appears to have been significantly expanded and even though shes a woman, Lady Elizabeth Ughtred-Cromwell looks like she has overly large broad shoulders.
In comparison, the modern-day equivalent of the noble gown has far more conservative sleeves and shoulders and does not make the wearer appear as if they had disproportionally massive arms and shoulders. When examining the style of the noble gown during the 16th century, it can be assumed that one of the reasons behind the overly large style was in part to make people born of noble blood stand out in terms of stature and presence.
An examination of other outfit styles during this period for commoners showed a distinctly more conservative style that lacked the overly puffy and exaggerated looks that were quite common for both noble-born men and women alike during this period. The difference between modern and past styles, with the modern version surprisingly being more conservative, is most likely in part due to the current perception involving obesity. The current revulsion and social ostracizing of individuals that have been deemed as overly obese is a relatively recent phenomenon that has only occurred within the past 100 years.
While obesity has existed in one form of another in humanitys past, it has taken on different meanings with people in the 16th century often connoting obesity as a mark of social distinction which indicates that an individual has more than enough to eat and can eat excessively. Such a concept might have been passed along into contextualizing size with wealth and nobility resulting in the creation of fashion styles that focus on making a person seem larger than life so to speak. Since such a distinction does not exist at the present, it is not surprising that the modern-day version of the noble gown does not adopt such a stylistic element.
To properly examine the styles utilized in the 17th century the example: Portrait of a Young Woman with Fan by Jan Daemen Cool (1636) is being used along with its modern equivalent created by the brand Valentino. While both dresses appear to utilize similar levels of conservatism when it comes to the sleeves, that is where the similarity ends with the Valentino version showing a more sexual style as compared to its 17th-century counterpart.
What must be understood is that the Puritan movement in England during the 17th century resulted in the promotion of widespread conservative practices which affected how people dressed. This resulted in the popularity of clothing that de-emphasized aspects related to sexuality and instead promoted a form of blandness so to speak in the manner in which people dressed and behaved. As it can be seen in the portrait, the only item which can be considered unique is the neckpiece which is overly large, however, within the context of the 17th-century society within England, it was considered to be the height of fashion since it combined the larger than life aspect of fashion seen in 16th-century fashion with more conservative body enclosing dresses.
In comparison, the Valentino version does not attempt to hide the contours of the body; rather, it emphasizes it and seems to combine a degree of sexuality with the conservative style of the dress. This can be seen by how the dress hugs the hips of the wearer and is tantalizingly high on her legs. When looking at the two dresses, it can be seen that aspects related to form and function that inspired the dressed are different wherein the 17th-century dress emphasized adherence to strict societal rules whereas the Valentino version seems to focus on emphasizing sexuality and femininity.
18th Century
18th-century fashion diverges significantly from its counterparts in the 16th and 17th centuries since it no longer places as much emphasis on conservatism. As can be seen in the portrait The Pitt Family of Encombe by William Hoare, a greater emphasis is placed on the functionality of the material rather than its overall appearance. Lighter fabrics are utilized and the bosom of the woman (i.e. the upper part of her chest) is exposed.
This is in direct contrast to the styles utilized during the 16th and 17th centuries where any hints towards sexuality are often covered up by layers of clothing. One of the reasons behind this sudden shift could be related to the continued expansion of the various colonial powers at the time into different regions around the world which resulted in an influx of foreign influences that impacted how people started to dress. Another potential reason behind this is connected to the spread of European colonialists to various areas that were hotter and damper as compared to the environments that they were used to.
As a result, many of them became uncomfortable with the styles they were utilizing and simply opted to wear clothing that was more suited for their new environments. Regardless of the reason behind the adoption of more revealing clothing styles, 18th-century fashions are closer to their modern-day counterparts as seen in the example provided. While it may be true that their modern-day equivalents are far more revealing, the fact remains that there are more similarities rather than differences. Modern-day clothing that was inspired by 18th-century clothing styles does still have a level of conservatism adapted into them as seen in the case where the outfits starting from the breast going down fully enclose the woman wearing them.
However, it is usually the case that the upper half of the body, starting from just above the breasts, is exposed. This makes the style far more sexual based on the amount of exposed flesh that is shown. From a certain perspective, when examining all the past styles and looking at them from era to era, it can be seen that one trend that seems to be present in all the styles is a certain predilection for womens fashion for high society individuals to contain a certain level of flamboyancy.
Works Cited
Friday Follow: 18th Century Inspired Fashions . 2014. Web.
Specific Purpose: The presentation is meant to inform listeners about the advantages and disadvantages of fast fashion as the business model and discuss possible strategies retailers can use to increase customer attraction.
Thesis Sentence: Nowadays, potential fashion buyers tend to avoid consumerism, deindividualization, and ecological irresponsibility associated with mass production and, therefore, to increase customer attraction, fast fashion enterprises should address changing customer interests and preferences.
Introduction
Every individual has his or her own motivations in the selection and buying of garments. Yet, the most common purchase drivers include such values as quality and price. It is possible to say that, like in no other sphere, in the world of fashion, customers value exclusivity, trendiness, design, and brand name. However, with the accelerating pace of globalization and an increasing number of global problems, fashion consumers start to demand various intangible product values related to manufacturers socially responsible practices. Fast fashion enterprises are especially threatened by the emerging changes in customer interests and preferences due to the very nature of their business model.
The term fast fashion implies an accelerated production process, whereas fashion items and new trends are supplied to the market as soon as possible and at the lowest possible cost ( Fast fashion, n.d.). Geczy and Karaminas (2013) observe that fast fashion retailers operate in the mass market segment; they immediately copy high fashion trends and ideas and produce clothes in large volumes. So what particular advantages and disadvantages are associated with the fast fashion business model, and how can they affect consumers perception of the brand?
Body
The fast-fashion business model is rooted in recent innovations in supply chain management.
For example, one of the most successful fast-fashion retailers, Zara, aims to get its garments from design concept to shop floor in 10-15 days, while conventional fashion business models use a product lifecycle that lasts for several months ( Fast fashion goes global, 2015, p. 18).
Fast fashion companies locate manufacturing facilities proximate to the distribution markets and source items requiring longer lead times from Asian countries to achieve greater cost efficiency and flexibility ( Fast fashion goes global, 2015).
Zara uses automated inventory systems, which capture real-time customer data and maintain continuous feedback loops that ensure a rapid production response (OMarah, 2016).
Low price is the main advantage and customer value inherent with fast fashion.
Low pricing allows retailers to target large and diverse consumer groups.
The given pricing strategy helps to reduce purchase failures due to inaccessibility of clients to products a common factor that can be found in the premium and luxury segments (Kim, Ho, & Yoon, 2013) (Kim, Ho, & Yoon, 2013).
The emphasis made on materialistic consumption speed, quantity, and size drivers is that what creates problems for fast-fashion retailers in terms of brand perception and customer attraction.
As stated by Kim et al. (2013), throughout the 20th century and with the development of capitalistic economy, materialistic values were disseminated in a way that many people started to believe that the more consumables one possesses, the better ones life is (p. 244).
However, nowadays, consumers have grown more conscious of multiple global problems associated primarily with international trade, excess production, etc. Some of these problems are:
Water and air pollution,
Soil erosion,
Child labor,
Unfair trade,
Social inequality, etc. (Kim et al., 2013).
Since consumers become more aware of the fact that cheap and low-price products are faster to turn into waste, they express anti-consumption attitudes and consequently tend to avoid fast fashion.
According to Kim et al. (2013), consumers often associate the mass production of fashion items with individualized styles (p. 257). As a person passionate about fashion, I can say without a doubt that the uniqueness of a fashion item and its ability to contribute to my personal style is that what I value most.
The inauthenticity of the product design in fast fashion may be considered another disadvantage. However, it is associated with controversial effects on consumer perceptions.
Fast fashion is against the right of high fashion designers to copyright their designs. As Geczy and Karaminas (2013) note, fast fashion distributors simply take advantage of the mediatized environment in which the images of authentic designers collections are spread all over the world at a fast pace. Such an approach provokes some ethical concerns.
However, research evidence indicates that awareness of product unauthenticity does not contribute to brand avoidance much (Kim et al., 2013). The fact that fast fashion retailers copy high fashion trends at lower costs does not bother fashion lovers with limited budgets.
(Overall, the analysis of fast fashion characteristics shows that the business model has both pros and cons. Nevertheless, since customers attitudes are core to sustainable financial performance, retailers should pay significant attention to them.)
Conclusion
The major advantages of the fast fashion business model are cost-efficiency, product accessibility, and low prices. The disadvantages, however, are associated with their inability to meet consumers needs for environmental sustainability and social integrity. As stated by Hill and Lee (2015), to capture the interests of the new generation of socially conscious consumers, retailers must overcome both skepticism and product-related barriers to sustainable purchases (p. 206).
Nowadays, sustainable fashion products are largely underrepresented in the market, but it is apparent that by increasing the number of green offerings, retailers can attract more consumers who usually avoid fast fashion. In my opinion, the given strategy will serve dual purposes: consumer education and the development of a unique product line. In this way, fast fashion may increase its value.
References
Fast fashion goes global. (2015). Strategic Direction, 31(11), 17-20. Web.
Geczy, A., & Karaminas, V. (2013). Fashion and art. London, England: Bloomsbury.
Hill, J., & Lee, H. (2015). Sustainable brand extensions of fast fashion retailers. The Journal of Fashion Marketing and Management, 19(2), 205-222. Web.
Kim, H., Ho, J. C., & Yoon, N. (2013). The motivational drivers of fast fashion avoidance. Journal of Fashion Marketing and Management, 17(2), 243-260. Web.