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Every fashion collection begins with research. But how do you start? How much should you do? How do you use that research? Fashion Design Research is designed to answer these questions and demystify the process for students.Illustrated throughout with inspirational photographs and images of good practice within student sketchbooks, the book begins with the basics of primary and secondary research sources and shows students how and where to gather information. Chapters on market, fabric, and color research follow before the final chapter shows how to gather all the information together, underst

Die Geschichte der deutschen Mode – von den 1940er Jahren bis heute.Mitte der 1980er Jahre war zum ersten Mal die Rede von den "Deutschen Designern", auf der Messe in Düsseldorf fanden unter großem Presserummel Modenschauen mit internationalem Flair statt. Die Labels von damals gibt es zwar nicht mehr, Wolfgang Joop macht jetzt Wunderkind, die Igedo heißt CPD, und statt zur Münchener Modewoche fährt man auf die Mercedes-Benz Fashion Week nach Berlin. Doch das Selbstbewusstsein der Szene wuchs, man wollte die Geschichte der Mode made in Germany, die Anfang des Jahrhunderts mit den Ateliers am Hausvogteiplatz begann und mit den Nachkriegsdesignern Heinz Oestergaard und Uli Richter ein glamouröses Zwischenhoch erreichte, mit Verve voranbringen.Heute macht die deutsche Textil- und Bekleidungsindustrie einen Umsatz von 20 Milliarden Euro im Jahr, die Exportquote liegt bei über 40 Prozent, Marken wie Hugo Boss haben Shops in der ganzen Welt. Wie kam es dazu, wann wurde welche Messe lanciert, wie war das mit Willy Bogner und den James-Bond-Filmen, wer ist die Inderin Megha Mittel, die Escada aus der Insolvenz rettete, wie geht es in Berlin weiter? Ein Lesebuch über die Hintergründe der deutschen Mode, ihre Entwicklung, ihre Trends, ihre Chancen.Im Buch vertreten: Bogner, Boss, Caren Pfleger, Daniela Bechtolf, Escada, Firma, Heinz Oestergaard, Iris von Arnim, Jil Sander, Joop!, Kaviar Gauche, Kilian Kerner, Kostas Murkudis, Manfred Schneider, Michalsky, Rena Lange, Schumacher, Strenesse, Uli Richter und Wunderkind. "German Fashion Design führt zweisprachig durch die Geschichte des deutschen Modedesigns, alle Texte sind ins Englische übersetzt... ein hintergründiges Lesebuch und flammendes Plädoyer zugleich: Ein Appell für mehr Stil - und weniger "modischen Mainstream" in Deutschland" (dradio.de)

AbstractBoth quantitative and qualitative research has provided evidence of a fashion system with principled aesthetic transitions. Previous theories of coordination have been proposed at the level of collective behavior, but monopolistic competition at the industry level looms large. Designers and suppliers around the world have the difficult task of anticipating uncertain consumer demand. How are multiple layers of futurework coordinated through global value chains? Drawing on 11 months of ethnographic data from first-tier suppliers in India, I document the role of forecasting in buyer–supplier coordination. I describe the contents of forecasts and show how designers use organizational routines to balance competing requirements for conformity and differentiation. Most importantly, I argue that forecasting information is filtered through calculative spaces and the logic of uncertainty absorption. The consequences of transnational futurework resonate not only through finance and technological innovation, but through aesthetics and embodiment.

I was excited about meeting Huguette Caland. Her background was very intimidating, being the daughter of a previous President of the Republic, a renown painter whose paintings have been exhibited in highly reputed galleries in Paris, Rome, Washington, Barcelona and Lebanon, a designer who created hand-woven silk gowns conceived and realized a Jashion line for the Pierre Cardin collections of haute couture, ready-to-wear and environmental design.

Born in 1965, in Beirut, originally from Ain Bal [Shouf]; currently living in Beirut; recorded in her workshop. Language: colloquial/educated Arabic; with some English and French

ABSTRACT
This manifesto presents starting points for educators to reconsider fashion as a system of satisfiers for fundamental human needs. The manifesto calls for strategic adoption of design for micro-utopias in the fashion system. The challenges facing humanity are approached as opportunities for systems renewal. Fashion design must move beyond a disciplinary model of design to facilitate deliberate societal change over time. The manifesto frames the economy as a design problem and calls for fashion design to collaborate with economists and others on designing the sociomaterial systems in which fashion is produced, used, and discarded. How does fashion repress, tolerate, or stimulate opportunities for people to fulfill their fundamental needs? How can fashion design actively facilitate satisfying fundamental human needs? The manifesto concludes with a call for design educators to be guardians of the possibility of possibility. Design needs to design design itself while concurrently designing the world at large.