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Fashion trends and their impact on the society

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Abstract

Fashion trends come and go; meanwhile a society’s values are established and evolving characteristic to their beliefs and culture. Fashion is just not an ambitious projected image of a reinterpreted good old value to fulfill some function or agenda alike but rather a evocative and refreshing concept worthy enough to be portrayed for society’s appreciation that makes us even more instinctive. An individual starts seeking for a solution to reduce his dissonance or he aspires to get better. As an expression of their feelings today’s youth endeavor to interpret fashion trends and adopt the clothing style that suits their value and traits. It is trickle across theory where the lure of aesthetic experience has given rise to everyday fashion and cognitive engagement. Besides the traditional social agenda of fashion trends, it is the attitude of the generation Z that has set forth the trend of anonymous style and self expression. Having transcended from a pre- capitalist feudal social structure to a post modern social structure, today’s behavior is marked by self image and self expression paving the way for uniqueness and social conformation. This is prevalent among today’s youth who is in the identity creation stage of Erikson’s psychosocial development to look for trendy dress choices.
FASHION TRENDS AND ITS IMPACT ON SOCIETY
Dr. D. Saravanan,
The Principal, Bannariamman Institute of Technology, Sathyamangalam 638401
&
Mr. Nithyaprakash.V, Assistant Professor, Department of Fashion Technology, Bannariamman
Institute of Technology, Sathyamangalam 638401.
Mob: 9952497366, Email: nithyaprakash.v@gmail.com
1. Introduction
Fashion trends come and go; meanwhile a society’s values are established and evolving
characteristic to their beliefs and culture. Fashion is just not an ambitious projected image of a
reinterpreted good old value to fulfill some function or agenda alike but rather a evocative and
refreshing concept worthy enough to be portrayed for society’s appreciation that makes us even
more instinctive. In the society, the individual’s appearance is the ticket to transmit non verbal
communication signals such as possible cues about his / her social stature, values and lifestyle.
Fashion communication has under gone a 360 degree shift in its communicable aspects staring
from projecting a basic image of how we look like and how we feel like to expressing our
emotional experiences through interactive implements in the dress.
The success of the fashion trend lies in the way the society interprets the fashion trend and
judges it. Hence the impact is measured by the barometer of social acceptance which in turn is
driven by the several motivational forces that underline the people’s values and behavioral traits.
Today’s consumer culture is driven by aspirationalism that diminishes the gap between the rich
and economically volatile sections when it comes to accepting and adopting a trend. A classical
example is, a consumer in China saves her three months salary to purchase a LVMH hand bag.
Further It does not stop here as the people’s cash liquidity is extended by the easy provision of
personal loans facilitated by both private and nationalized banks alike. This is even extended by
few Brands’ initiatives to offer fashion products on a credit basis with easy monthly part
payment options.
2. Contemporary consumption behavior
Today’s youth ( 15 to 20 years) given their predictable audacity, the tendency to shop, venture
out, try, experiment is high, it is they who decide the life time of a fashion trend. In a globalized
world well connected by web technologies, geographical distance is no more a constraint to
reach and witness the experience. The lines between buying behaviors are no more significant
among young people ( youth) indeed blurring out as the common urge is get hooked on to social
networks, interact across a wide section of people of with shared interests and get appreciated.
In fact even companies hiring potential job seekers are verifying their social networks and
appraising them.
In this context, the very idea of consumerist model of Top to down approach is hardly relevant.
(Douglas & Isherwood, 1996; McCracken, 1990) theories of consumption describe a more
complex picture in which fashion does more than signal social position. Rather populist models
and trickle across theories help to explain the phenomenon better. A classical example is the
prevalence of their attitude and lifestyle to decide about product purchase rather than merely
following the cultural stars and people in lime light or the rich and wealthy people. Today’s
world is driven by knowledge and experience providing chance for every individual to
experience and appreciates a moment which is no way decided by their monetary status. And the
converse is also true that the rich are not the only ones superior in appreciating a taste or value.
And knowledge being a common platform where rich and economically vulnerable alike
compete on equal terms. In fact the new line is between knowledge ignorant people and people
with well equipped knowledge.
(Holt 1997a) defines lifestyle as collective pattern of consumption patterns based on shared
cultural frameworks that exist in social system. A recent analysis on the consumer consumption
behavior by Chaudhuri and Majumdar (2006) only bears more evidence to this phenomenon.
Table 1: A Structural Analysis of Conspicuous Consumption
Behavior (Source: Chaudhuri and Majumdar, 2006)
Social structure
Primary
Objects of
Consumption
Drivers of
Behavior
Consumers
Principal
behavior
dimensions
Pre-capitalist
feudal
Slaves, women
and food
Military and
political powers
Nobility
Pure ostentation
Modern
Capitalist
Very expensive
products e.g
diamonds
Social power and
status
Nobility and
upper middle
class
Ostentation and
signaling and
uniqueness
Post modern
Image and
experience
Self expression
and self image
Middle class and
the “masses”
Uniqueness and
social
conformation
3. Face of Everyday fashion
The phenomenon of fashion can be distinguished into elite fashion ( haute couture) and everyday
fashion rather than just restricting ourselves to the concept of European or western high fashion.
(Malcom barnard 1996, 2008) Everyday Fashion is an interactive process through which the
aspiring individuals of the society consciously project their bodily self in a distinctive manner in
the form of clothing style. it is unlike the traditional capitalist fashion system where the so called
elite or rich decide the course of fashion tastes and fashion gets disseminated from the top to
bottom sections of the society. This distinctive manner of style is equally drawn from the fashion
trends percolated through contemporary life, style conventions, fashion code concepts developed
by the designers & forecasting service providers alike and street style fashion, Appreciation of
aesthetic experiences, ethnographic accounts witnessed in the social vicinity of a local
population. (Malcolm barnard 1996, 2008) Relating to the beliefs and attitudes of the peers or
social group these individuals belong to the Endeavour to draw a fine line between the existing
patterns of style and their appearance by dressing in a trendy manner. In other words the
intention is to win friends or draw appreciations by communicating their values in the form of
dress and clothing as appearance is a social etiquette and effective form of nonverbal
communication.
Mean while the contemporary everyday fashion echo a different pattern contrary to the
traditional fashion cycle periods of Classic fashion and FAD. Rather we can say there is a change
in the compositions of the elements that constitute these fashion concepts. The pattern at which
the FAD accessories like sashes, armlets / wristbands, jewellery, hair bands and watches along
with fashionable trims like buttons and pins are co-ordinate with classical dress shirts and
trousers to complement a look rapidly changes every month. Party wear and club wear clothing
trends needs no mention about this behavior. Thus other than the bare essentials of classical look
namely the dress shirt and trouser / skirt, the accessories and trims which co-ordinate the look
continue to evolve at a faster pace similar to FAD.
(Kawamura 2005) This is witnessed in groups including subcultures, ethnic groups, alternative
lifestyles, workplace and leisure cultures, and in all the mundane places and institutions of
everyday life.
3.1 The lure of aesthetic experience
(I-perception 2012) As quoted in the three dimensions of aesthetic experience: fascination with
the aesthetic object ( arousal and attention), appraisal of symbolic reality (cognitive engagement)
and strong feeling of unity with the object: fascination and appraisal, The lure of aesthetic
experience for a contemporary consumer is highly inspirational and entails specific calculations
on his / her part in accepting the everyday fashion trends. Clothing behavior is determined by
pragmatic criteria and situations because we do have social codes of dressing. When it comes to
casual wear the preference could be for a mixture of values attributed to social themes and
adventurous sports / events, in case of formal wear the preference or the more rightly the choice
is to stick to the conventional dressing codes, in case of sportswear the preference is for a
functional comfort and feel good factor and in case of party wear the preference is for displaying
the oomph factor and prevailing iconic values. Thus consumers are clearly strongly influenced
by their social context, they also have a creative agency in participating in fashion:
“Consumption establishes itself as a gratuitous and creative activity inasmuch as people
reinterpret and reorganize things they have bought according to a particular style which they are
continuously engaged in accomplishing” (Sassatelli, 2007).
4. Social agenda of fashion trends
In fact clothing and fashion are carriers of wide range of ideological meanings. The fashion
trends portray a visual culture and style of dressing that models the consumer identity in a
specific environment. The social agenda of these fashion trends is to express the consumer’s
identity in terms of lifestyle choices and their attitude. The lifestyle choices changes from one
period to another period. In other words they suggest the pattern & manner of dressing befitting
an occasion that sets forth a standard. these clothing standards are in fact derived from the
prevailing social values and their emotional expectations.
The Fashion trend entails design focus and details on a garment noticed at different locations of
the garment namely collars and necklines, hem lines, waist lines, shoulder line, sleeve lines and
hip lines. A sneak peek review of Google fashion trends report. (Www. Thinkwithgoogle.com/
spring-2015-fashion-trends-google) tell us about the status of the trends floated by the fashion
clothing articles.
There is a steady rise in the consumption of styles like waist trainer, jogger pants, palazzo pants,
tulle skirt and midi skirt. While styles like white lace dress, high waisted bikini, romper, shift
dress and white jumpsuit have recorded seasonal growth. Not only had they added on a new
element of Elegance and natural well being to the contemporary human existence but have
demystified few common fabric notions in the society like knitted stretch denim is suitable only
for lounges and tulle is appropriate only for elegant party wear or Haute couture. Be it the
kinematic comfort of jogger pants that meets the requirements of frail customer who would like
to do away from the heavy trousers that bruises the skin or the very low weight and airy
silhouette of tulle skirt or the easy to don and doff jumpsuit have all added on a renewing feature
and pepped up the existing look. The agenda of each fashion trend is to enhance the look and feel
of the customer.
From the user search behavior patterns, it is clearly evident that many fashion trends have
bulldozed the issue of class entirely, and instead follow patterns of “personal identity” dictated
by psychographic parameters based on age, race, gender, sexuality, leisure activities, and various
sub-cultural allegiances. This is a classic example of how contemporary fashion cycles operate
differently from purely top-down models (Crane 2000).
And trends themselves are in fact rolled out by the forecasting services following thorough
ethnographic studies. As the living conditions, the environment and the cognitive engagement in
the life of a person changes simultaneously the attitudinal expressions also change. And in an era
where the construction of personal identity assumes absolute importance for an individual, the
fashion designers and forecasters alike float their agendas to cater to these special emotional
needs driven by lifestyle and values.
Clothes are never a frivolity; they are always an expression of the fundamental social and
economic pressures of the time (laver 1968). WGSN Executive Vice President Leticia Abraham
also share the same view that fashion is one of the most evident and prolific places for individual
and social expression and is a means of communication but not a revolution in itself
(Www.wgsn.com/blogs/trends-and-fashion-theyre-not-dead-and-never-will-be). Another
example is the rise of street style which proves fashion is an essential mode of self expression.
5. The attitude of youth towards fashion trends
Attitudes serving a value-expressive function (i.e., value-expressive attitudes) help people
communicate their central beliefs, attitudes, and values to others through their possessions (Katz
1960). And fashionable garments and accessories are such possessions that help people
communicate who and what they are. In this context, do all people have a penchant to adore
fashion trends are to be looked into in close proximity? The answer is definitely no except one
exceptional section of the population: the youngsters. The youngsters comprising of adolescents
(12 to 17years), teens and young allocate more time for their public appearance than to studies.
The peer influence, hero worship which becomes part of adolescent identity creation is the
primary reason why adolescents aspire for more fashion concerns than any other age group.
Colleges generally project the picture of current trend in fashion. Therefore it is normal for a
college student who is in the identity creation stage of Erikson’s psychosocial development to
look for trendy dress choices (1968).
When a particular style of dress comes in vogue or used by film stars and models, it is blindly
followed by college students (Pathak, 2013). Fashion trend today does not give precedence to
comforts and practicality. Sometimes the dress, that goes beyond modesty and simplicity, which
does not allow someone to sit or walk properly, is attracted by youth. Untidy, shabby looking
hair-styles, which are trendy, attract Generation X youngsters. Rather it reflects the
deconstructive style preferences prevailing in post modern consumerist society.
5.1 GENERATION Z
Generation X style characteristics can be inferred from a few signature style looks: metro sexual
or grunge characterized by Untidy, shabby looking hair-styles, which are trendy. By far for many
youngsters the prevailing style is jeans, cool sneakers and messy hair for men and jeans, cool
sneakers and neat hair for women. But Generation Z youngsters who in fact wish to express their
own style in an anonymous manner as per the view shared by the Director of youth insights of
Futures co (Www.nytimes.com/2015/19/20/fashion). Generation Z is also nicknamed Digital
natives, just because they can simultaneously create a document, edit it, post a photo on
instagram and talk on phone.
We do see a few elements like rave look, pop art style skirts printed with giant coco cola logo,
tie-dyed maxi dresses and rainbow chokers barring resemblance to Generation X. (Www.
Teenvogue.com/gallery/spring-summer-2015-beauty-trend-report) While 2015 spring beauty
trend report of Teen Vogue speak about vintage patty smith style shag haircuts and ripped
fishnets era scarlet lipstick as trends, the youth style bloggers are catching upon anonymous
styles pertaining to smaller sub groups and sub cultures, for example: self defined laundry-day
look that comprises of oversize sweaters, base ball caps and jogging pants
(Www.nytimes.com/2015/19/20/fashion). Thus there is no one single acclaimed and sought after
signature look mimicking pop stars and cultural stars. This is no strange behavior in the current
scenario given the incidences of “Selfies” as they are quick and efficient way to increase one’s
social media presence.
6. Communication and cognitive engagement
Fashion communication, unlike verbal communication, messages transmitted through fashion
symbols are often emotional impressions or, what Hoffmann (1984) called "illusions". In other
words they reflect the clothing attitude of the person. The perceiver examines a fashion statement
"not for a new message, but for an old one fixed by convention" Fashion symbols and their
effectiveness in communicating culturally defined Categories. Principles and processes emerged
through human interaction not only speaks about their existence but also their consciousness.
The human consciousness in appreciating a cut and shape of silhouette is as legitimate as any
other appreciation of Art. In fashion the evocation of a Trend pertaining to a historical period has
to be immediate yet not necessarily correct in its aspects; visual impact and easy reading of the
design take preference over historical accuracy in material or shape. Today, Is silk an
representation of purity, royalty and does wearing a denim trouser with distressed effects speak
about the emotional traits of the person who he is, can only be explained by the symbols that
establishes the visual core concepts in fashion.
Today the manufacturing of fashion clothing has been affected by technological advances.
(Alicia kennedy & Emily banes Stoehrer with Jay calderin 2013), The abilities of the high-tech
fabrics to stretch to over-whelming sizes or change their structure according to temperatures
inspire clothing designers and blur the lines between fashion and industrial design. The Italian
firm Corpo Nove has designed a shirt woven with titanium that reacts to shifts in temperature.
Wrinkles in the fabric are released when the shirt is exposed to hot air. The changing face of
communications is also influencing trends & styles of the future.
(Trending, Sunday magazine, The Hindu, September 20, 2015) The Selfie is the buzz word
today, as it communicates a message or two about the person across their friends, colleagues and
foes alike instantaneously through digital platforms. According to oxford dictionary a selfie is a
photograph that one has taken of oneself, usually with a smart phone. And why not is elected as
the “International word of the year 2013”. The mode of selfies has come a long way from days of
Vincent van gough who first painted a self portrait to the days of Triple self portrait painted by
Norman Rockwell which features a mirror selfie. The interesting thing to note is people wish to
go by their own style that is evident from the plethora of selfies posted across the web. A poll by
American Academy of facial plastic and reconstructive surgery indicated that one in three cases
requested for surgical procedures to improve their look.
7. Conclusion
Attitude is an expression of the feelings and values are their motivating forces or directional
forces that help the consumer to make a decision. In case of a value-expressive attitude toward a
product, the consumers are motivated to consume it as a form of self-expression (Snyder and
DeBono 1985). This growing trend of self awareness for one’s look has influenced every aspect
of Generation Z individual behavior and is reflected in every sphere starting from social media
platforms to real life purchase decisions. This phenomenon of emboldened self expression and
preference for no holds barred anonymous style has challenged the core social agenda of
forecasting agencies. Thus it has pushed the forecasting agencies to reconsider the parameters of
forecasting ushering in a new environment for modeling. The most befuddling is the
unpredictable nature of selfie composition patterns leaving behind only the function of
expression that is to increase one’s social media presence and carve a niche for himself or
herself. So the trend of the day is self expressive anonymous style that tends to remove social
prejudices about fashion in the society. The lenience is towards flaunting what is theirs in spite
of mimicking others rather going all the way to savor and appreciate what they and their close
knit friends in the group engage and unravel upon. Further today’s anonymous style trends opens
up the societal expressions unheard and unseen ever before just evocative of the spirit of our
moments that does not bother whether the content is worth artistic and meaningful which could
give a hint or two about the individuals real existence and real needs.
8. Bibliography:
1. Alicia Kennedy & Emily banes Stoehrer with Jay calderin (2013), Fashion design
referenced, Digital edition, Routledge publishers.
2. Chaudhuri & Majumdar (2006), Of diamonds & desires: Understanding conspicuous
consumption from a contemporary marketing perspective. Academy of marketing science
review, Volume 2006, No. 11.
3. Crane, D. (2000). Fashion and its Social Agendas: Class, Gender, and Identity in Clothing.
Chicago, The University of Chicago Press.
4. Douglas & Isherwood (1996) & Mc Cracken (1990), The world of goods: towards an
anthropology of consumption. Oxford: Routledge & Culture and consumption: new
approaches to the symbolic character of consumer goods & activities, Bloomington;
Indiana university press.
5. Erikson (1968), Identity, Youth and Crisis, Newyork: W.W. Norton Company .
6. Hoffman (1984), How clothes communicate; Media development,4, 7-11.
7. Holt (1997a), psychoanalysis and the philosophy of science: The collected papers of
Benjamin, B. Rubenstein & Madison, CT: International university press, Psychological
issues, Monograph No. 62/63.
8. I-perception (2012), 3(1), 1-17, Published online, DOI: 10.1068/; 0450 app.
9. Kawamura (2005), Fashionology: An introduction to fashion studies, Berg publishers.
10. Katz (1960), The functional approach to the study of Attitudes, Public opinion quarterly,
24(2), 163-204.
11. Laver (1968), James: Dandies. London: Weidenfeld & Nicolson
12. Malcolm Barnard (1996, ed. 2008), Fashion communication, Routledge publishers.
13. Pathak (2013), Fashion among students, posted in Essays, Paragraphs and Articles,
retrieved on January 2015 from Http://www.importantIndia.com.
14. Sassatelli. R. (2007), Consumer culture: History, theory and politics (1st ed.). Los
Angeles, CA: Sage.
15. Snyder & Debono (1985), Appeals to image and claims about quality: Understanding the
psychology of advertising, Journal of personality and Social psychology, 49(3), 586.
16. Trending, Sunday magazine, The Hindu, September 20, 2015.
17. Www. Thinkwithgoogle.com/ spring-2015-fashion-trends-google
18. Www. Teenvogue.com/gallery/spring-summer-2015-beauty-trend-report
19. Www.wgsn.com/blogs/trends-and-fashion-theyre-not-dead-and-never-will-be
20. Www.nytimes.com/2015/19/20/fashion
Tables:
1. Table 1: A Structural Analysis of Conspicuous Consumption Behavior (Source:
Chaudhuri and Majumdar, 2006)
... Bireyin görünüşü sözsüz bir iletişim bileti gibi düşünüldüğünde, moda ile birlikte sosyal durumu, değerleri, nasıl hissettiği, yaşam tarzı vb. hakkında bilgi ve öngörü sahibi olabilmek mümkündür (Saravanan & Nithyaprakash, 2016). Bu anlamda özellikle günümüz teknoloji ve trendlerindeki hızlı değişim kişisel duygu değişimleri yanında tüketim ile birlikte çevresel faktörleri de önemli hale getirmiştir. ...
... İleri teknoloji sayesinde üretilen kumaşlardaki çeşitlilik, aşırı derecede esneme kabiliyetleri, yapılarını sıcaklıklara göre değiştirme yetenekleri vb. tasarımcılara ilham verirken (Saravanan & Nithyaprakash, 2016) bir yandan da değişen çevre anlayışları, azalan su kaynakları, yeni boya ve üretim teknolojileri bakımından firmaların yanı sıra tüketicileri de dikkatli hale getirmiştir. Bu bağlamda denim ürünler tüketim pazarında çok değerli bir konuma sahip olup, bu araştırma çerçevesinde de yeni nesil üretilen denim ürünler ve en yaygın kullanıcı grubunu oluşturan üniversite gençleri arasında yapılan değişikliklerin çevre bilinci ve tüketim doğrultusunda farkındalığı üzerinde durulmuştur. ...
... Denim ürün üreticileri ve tasarımcılarının en çok karşılaştığı zorluklar mevcut pazarlarını korumak ya da yeni pazarlara girebilmek için bu ürünlerde inovasyon yapma ihtiyacı ve daha iyi bir giysi boyutlandırılması için tüketici taleplerini karşılama ihtiyacı olarak görülmektedir (Paul, 2015). Dolayısıyla iletişimin değişen yüzünün, geleceğin trendlerini ve tarzlarını da etkilediği görülmektedir (Saravanan & Nithyaprakash, 2016). Bununla birlikte sanayileşme ile ortaya çıkan küresel ısınma problemi, ozon tabakasının incelmesi, azalan su kaynakları ile ormanlar, hava ve su kirliliğinin yanında artan nüfus (Alnıaçık & Koç, 2009) kullanılan her üründe olduğu gibi tekstil ürünler ve bu makale kapsamında incelenen denim ürün üretimi için de oldukça fazla önem arz etmektedir. ...
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Sürekli artan dünya nüfusu, değişen yaşam koşulları, artan tüketim ve bunların neticesinde hızla tükenen kaynaklar ve atık maddelerinin çoğalması çevre ile ilgili sorunların artmasına sebep olmuştur. Bu bağlamda özellikle gençler arasında en çok kullanılan tekstil ürün gruplarından denim ürün üreticilerinin ve tasarımcılarının da çevre konusunda bilinçlenmelerine olanak sağlamaktadır. Üretici ve tasarımcılar mevcut pazarlarını korumak ya da yeni pazarlara girebilmek için ürünlerde inovasyon yapma ihtiyacı duymakta ve daha iyi bir giysi boyutlandırılması için tüketici taleplerini karşılamaya özen göstermek durumunda kalmaktadırlar. Bu çalışma kapsamında, Türkiye’nin çeşitli üniversitelerinde okuyan ya da yeni mezun olan üniversite öğrencilerinin denim ürünler hakkındaki bilgi düzeyleri, bu ürünlerin çevresel etkileri ve yaptıkları alışverişlerde ürünlere karşı davranışlarındaki etkiler incelenmiştir. Araştırma kapsamında 432 gönüllü öğrenciye çevrimiçi anket çalışması uygulanmıştır. Katılımcıların denim ürünlerde kullanılan kimyasallar hakkında pek fazla bilgi sahibi olmadıkları ve çevre bilinci konusunda yeterli düzeyde bir farkındalık geliştirmedikleri görülmektedir. Ayrıca sürdürülebilirlik kavramı açısından kadın katılımcıların (%26) erkek katılımcılara göre (%7) daha fazla bilgi sahibi oldukları da görülmüştür. Kadın katılımcılar bu doğrultuda daha bilinçli bir alışveriş davranışı sergilerken erkek katılımcılar bu anlamda zayıf kalmaktadır. Moda ve değişim kadın öğrencilerin daha fazla dikkatini çekmekte ve ilgilendirmektedir. Anahtar Kelimeler: Çevre bilinci, Denim, Üniversite Öğrencileri, Teknoloji, Farkındalık, Tüketici algıları.
... Bireyin görünüşü sözsüz bir iletişim bileti gibi düşünüldüğünde, moda ile birlikte sosyal durumu, değerleri, nasıl hissettiği, yaşam tarzı vb. hakkında bilgi ve öngörü sahibi olabilmek mümkündür (Saravanan & Nithyaprakash, 2016). Bu anlamda özellikle günümüz teknoloji ve trendlerindeki hızlı değişim kişisel duygu değişimleri yanında tüketim ile birlikte çevresel faktörleri de önemli hale getirmiştir. ...
... İleri teknoloji sayesinde üretilen kumaşlardaki çeşitlilik, aşırı derecede esneme kabiliyetleri, yapılarını sıcaklıklara göre değiştirme yetenekleri vb. tasarımcılara ilham verirken (Saravanan & Nithyaprakash, 2016) bir yandan da değişen çevre anlayışları, azalan su kaynakları, yeni boya ve üretim teknolojileri bakımından firmaların yanı sıra tüketicileri de dikkatli hale getirmiştir. Bu bağlamda denim ürünler tüketim pazarında çok değerli bir konuma sahip olup, bu araştırma çerçevesinde de yeni nesil üretilen denim ürünler ve en yaygın kullanıcı grubunu oluşturan üniversite gençleri arasında yapılan değişikliklerin çevre bilinci ve tüketim doğrultusunda farkındalığı üzerinde durulmuştur. ...
... Denim ürün üreticileri ve tasarımcılarının en çok karşılaştığı zorluklar mevcut pazarlarını korumak ya da yeni pazarlara girebilmek için bu ürünlerde inovasyon yapma ihtiyacı ve daha iyi bir giysi boyutlandırılması için tüketici taleplerini karşılama ihtiyacı olarak görülmektedir (Paul, 2015). Dolayısıyla iletişimin değişen yüzünün, geleceğin trendlerini ve tarzlarını da etkilediği görülmektedir (Saravanan & Nithyaprakash, 2016). Bununla birlikte sanayileşme ile ortaya çıkan küresel ısınma problemi, ozon tabakasının incelmesi, azalan su kaynakları ile ormanlar, hava ve su kirliliğinin yanında artan nüfus (Alnıaçık & Koç, 2009) kullanılan her üründe olduğu gibi tekstil ürünler ve bu makale kapsamında incelenen denim ürün üretimi için de oldukça fazla önem arz etmektedir. ...
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Günümüzde bilişim teknolojilerinin yoğun kullanımının yaygın etkisi eğitim sistemimizdeki geleneksel anlayışı değiştirmektedir. Özellikle bilgisayar bilimi dalına ait Bilgisayar Mühendisliği, Yazılım Mühendisliği, Bilişim Sistemleri Mühendisliği, Yapay Zeka Mühendisliği, Bilişim ve Yönetim Sistemleri, Adli Bilişim Mühendisliği, Veri Bilimi ve Mühendisliği bölümlerinde verilen derslerin müfredatı hem mesleki dersler açısından hem de temel dersler açısından her yıl güncellenmektedir. Bu kapsamda bu ve benzeri bölümlerde verilecek matematik dersinin, bu bölümlerin müfredatına uygun olarak bilişim matematiği olarak güncellenmesi gerekmektedir. Bu amaçla kitabımızı iki bilişim alanı ve iki matematik alanından akademisyenler olarak branş matematiği olarak güncel ihtiyaçlara cevap verecek şekilde hazırladık. Şifrelemeden Optimizasyona, Interpolasyondan Eğri Uydurmaya, Hanoi Kulesinden Çin Kalan Teoremine, Algoritmalardan Karmaşıklık Hesabına kadar bu alanla ilgili konuları ele aldık ve bu konulara ait örnekleri Python ve MATLAB kullanarak çözümlerini verdik. Mevcut Bilişim Matematiği kitapları içerisinde bu derece kapsamlı Python ve MATLAB uygulamaları olmadığı için bu eseri yazma kararı aldık. Bilgisayar Bilimi alanında Branş Matematiği kavramını ortaya koyan Bilişim Matematiği adlı bilimsel kitabımızın benzeri çalışmalara ve lisansüstü eğitimine katkı sağlayacağı inancındayız. Sonuç olarak, bir ders kitabı olarak değil, Bilişim Matematiği altyapısını sağlayacak eserimizin bilimsel çalışmalara katkı sağlamasını diliyoruz.
... Fashion communication has gone through a 360 degree shift in its communicable aspects starting from projecting a basic image of how we look and how we feel like expressing our emotional experiences through interactive tools in the dress. (Venkatasamy, 2015) The appearance of the individual in society is the ticket for transmitting non-verbal communication signals such as possible indications of his / her social stature, values, and lifestyle (Venkatasamy, 2015). ...
... Fashion communication has gone through a 360 degree shift in its communicable aspects starting from projecting a basic image of how we look and how we feel like expressing our emotional experiences through interactive tools in the dress. (Venkatasamy, 2015) The appearance of the individual in society is the ticket for transmitting non-verbal communication signals such as possible indications of his / her social stature, values, and lifestyle (Venkatasamy, 2015). ...
... According to (Barnard, 2002) relating to the beliefs and attitudes of the peers or social group these individuals belong to the Endeavour to draw a fine line between the existing patterns of style and their appearance by dressing in a trendy manner. In other words, the intention is to win friends or appreciate them by communicating their values in the form of clothing and dress as appearance is a social etiquette and an effective form of nonverbal communication (Venkatasamy, 2015) Clothing and fashion, in fact, are carriers of broad ideological significance. The trends in fashion depict a visual culture and dressing style that models the consumer identity in a particular environment. ...
Thesis
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The designer's main goal is to create a unique experience by seeing the patterns themselves to give consumers positive emotions. In addition, consumption experience's overall emotional content depends on fulfilling consumer emotional experience. A motif in art is an idea, pattern, image, or theme that is repeated. A pattern is a repetition of specific visual elements. It is so important for designers to understand the relationship between the shape they design into patterns and the nature of the experience of consumption as determined by the content of their emotions. This study will help to understand The Impact of Motifs and Patterns on Surface Design in Fashion and Textile Designs on People’s Emotions. In this study, we will understand how the shape of motif pattern relates to emotional design, the relationships among the elements that contribute to people emotion and to provide a structure to better understand the shape of motifs patterns can give impact to people's emotions. The focus group of this study is creative designers such as multimedia, animation, graphic and fashion. Hence, different emotions are shown based on different groups and people. The quantitative method will be used in this study to answer the research questions. Thus, this paper will find out what are the elements that play an important role and can make people change their emotions. Keywords: Motif and Pattern, Emotion Design, Fashion and Textile Design
... As time goes by, fashion is not just a representative picture of the old values interpreted by society but is depicted for appreciation that makes us motivated which is quite evocative and refreshing. Individual appearance is used as a ticket to transmit nonverbal communication signals that indicate social status, values, and lifestyle (Venkatasamy, 2015). This causes the phenomenon of mass consumption of luxury brands to become an aspiring people to consume luxury brands to become part of the elite class which is called the "democratization of luxury" (Kapferer & Bastien, 2012), 'mass affluence' (Nunes et al., 2004), and 'bandwagon luxury consumption' which indicate that consumers buy certain luxury categories because of popularity (Kastanakis & Balabanis, 2012). ...
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The purpose of this study was to determine how the influence of Fashion Consciousness, Subjective Norm, and Hedonic Shopping Motivation on Purchase Intention of counterfeit fashion products. This study used a quantitative approach that targets youth consumers in Denpasar City. Data was collected through an online questionnaire using a google form involving 100 respondents. The data were analyzed using SPSS software version 26.0. This research provides evidence that purchase intention is influenced by fashion consciousness and hedonic shopping motivation, while the subjective norm has no significant effect on the purchase intention of counterfeit fashion products. This research has implications for fashion product entrepreneurs, both original and counterfeit products, regarding the internal factors of consumers that influence purchase intentions on fashion products, especially counterfeit fashion products.
... A maneira como as pessoas se vestem pode ser entendida como uma identidade social formada por valores que todos possuem (HRISTOVA, 2014). Nesse sentido, nosso estilo envia mensagens para o mundo exterior, cada acessório ou peça de roupa é nosso personagem lido pelos outros (DITTY, 2015;HRISTOVA, 2014;VENKATASAMY, 2018). As escolhas que fazemos estão relacionadas aos signos, à cultura e ao universo de cada um; os significados dados a certos elementos são resultados da relação da percepção com o sistema formado pela cultura, experiências ambientais e memória (MARTINS; ORTUÑO; SANCHES, 2015). ...
Chapter
The concept of androgynous or gender-neutral fashion is known for its distinctive attribute that blends both conventional masculine and feminine design characteristics. In the history of fashion, the notion of androgynous fashion has been evolving since the 1920s, although it was irregular at times. In the postmodern Western cultures, androgynous aesthetic in fashion is increasingly accepted, encouraging the multiplicity of gender expressions. With significant influencers of the generation identifying themselves as gender-neutral and speaking out on the topic, the concept of being gender fluid is catching a lot of attention recently in the international fashion industry. Androgynous fashion is an emergent trend, which reflects in fashion ramps with models showcasing silhouettes and design elements that breakdown gender stereotypes. With this in mind, the current research aims to study androgynous fashion from both conceptual and user-centric perspectives in the Indian context. Data were collected through primary and secondary sources. Relevant secondary data were gathered from various books, research papers and fashion publications to set the conceptual context of the research. Additionally, to gather primary information about the Indian LGBTQ consumers’ perception of androgynous fashion, a questionnaire was circulated amongst young Indian fashion consumers using convenience and snowball sampling methods. The results and analysis of the study reveal the aspirations behind the gender-neutral design genre. This study also brings out the emotional needs of the Indian LGBTQ community members, who are the primary consumers of androgynous aesthetic.
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In this literature review, 106 studies were identified, of which 53 met inclusion criteria for investigating the current literature around smart watches and fitness trackers. Additionally, this review investigated some of the theories used to examine smart watches and activity trackers usage. Our review reported on results that relate to behaviour variables such as adoption, value, intention, enjoyment, image, observable differences, levels of interaction, behavioural encouragement and promoting positive attitudes. The literature is clear that wearable devices hold the ability and capability to influence and change behaviour over long term and sustained use. The literature also suggests that wearable devices hold key affordances such as motivation, reflection and self monitoring which can facilitate behavioural change strategies around personal needs and objectives.
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This narrative study responds to a paper and statement by Yang (2016:256) who states that "despite the positive prospects and functionality of wearable devices, little research has been done on user acceptance and behaviours concerning them". This study made use of Engeström's second generation Activity theory (1983) to examine how wearable fitness devices influence and support a number of users' behaviour by attempting to uncover the underlying user affordances and patterns of behaviour that emerge when people interact with wearable fitness devices. Data was collected in the form of the content analysis that identified the hot areas of discussion in documents in the field. The second part of the case study was conducted through qualitative interviews with eight participants.. In addition, through emergent research data was coded and modified to best describe participant responses. All participants in this study were users' of wearable fitness devices which were identified via peers, referral and convenient target sampling. The snowballing sampling technique was also deployed to engage with willing participants. In addressing my research objective I have identified four user personas in relation to wearable fitness device usage. I also present some of the tensions and contradictions that users experience when engaging within their various individual wearable fitness device activity systems. My primary data analyses also identified seven themes which emerged from the obtained results, these include adoption, lifestyle management, affordances, self-reflection, community/normative influences, motivations/self-efficacy and goal setting and incentive.
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Examined, in 3 studies, the evaluative and behavioral reactions of 130 undergraduates with high and low self-monitoring personalities to 2 advertising strategies: appeals to a product's image and claims about a product's quality. High self-monitoring Ss reacted more favorably to image-oriented advertisements, were willing to pay more for products if they were advertised with an image orientation, and were more willing to try a product if it was marketed with an image appeal. By contrast, low self-monitoring Ss reacted more favorably to product-quality oriented ads, were more willing to pay more for products if they were advertised with a quality orientation, and were more willing to try a product if it was marketed with a quality claim. (22 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Article
It has long been said that clothes make the man (or woman), but is it still true today? If so, how has the information clothes convey changed over the years? Using a wide range of historical and contemporary materials, Diana Crane demonstrates how the social significance of clothing has been transformed. Crane compares nineteenth-century societies—France and the United States—where social class was the most salient aspect of social identity signified in clothing with late twentieth-century America, where lifestyle, gender, sexual orientation, age, and ethnicity are more meaningful to individuals in constructing their wardrobes. Today, clothes worn at work signify social class, but leisure clothes convey meanings ranging from trite to political. In today's multicode societies, clothes inhibit as well as facilitate communication between highly fragmented social groups. Crane extends her comparison by showing how nineteenth-century French designers created fashions that suited lifestyles of Paris elites but that were also widely adopted outside France. By contrast, today's designers operate in a global marketplace, shaped by television, film, and popular music. No longer confined to elites, trendsetters are drawn from many social groups, and most trends have short trajectories. To assess the impact of fashion on women, Crane uses voices of college-aged and middle-aged women who took part in focus groups. These discussions yield fascinating information about women's perceptions of female identity and sexuality in the fashion industry. An absorbing work, Fashion and Its Social Agendas stands out as a critical study of gender, fashion, and consumer culture. "Why do people dress the way they do? How does clothing contribute to a person's identity as a man or woman, as a white-collar professional or blue-collar worker, as a preppie, yuppie, or nerd? How is it that dress no longer denotes social class so much as lifestyle? . . . Intelligent and informative, [this] book proposes thoughtful answers to some of these questions."-Library Journal
Article
At the psychological level the reasons for holding or for changing attitudes are found in the functions they perform for the individual, specifically the functions of adjustment, ego defense, value expression, and knowledge. The conditions necessary to arouse or modify an attitude vary according to the motivational basis of the attitude. Ego-defensive attitudes, for example, can be aroused by threats, appeals to hatred and repressed impulses, and authoritarian suggestion, and can be changed by removal of threat, catharsis, and self-insight. Expressive attitudes are aroused by cues associated with the individual's values and by the need to reassert his self-image and can be changed by showing the appropriateness of the new or modified beliefs to the self-concept Brain washing is primarily directed at the value-expressive function and operates by controlling all environmental supports of old values. Changing attitudes may involve generalization of change to related areas of belief and feeling. Minimal generalization seems to be the rule among adults; for example, in politics voting for an opposition candidate does not have much effect upon party identification.
Fashion design referenced
  • Alicia Kennedy
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Of diamonds & desires: Understanding conspicuous consumption from a contemporary marketing perspective. Academy of marketing science review
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The world of goods: towards an anthropology of consumption. Oxford: Routledge & Culture and consumption: new approaches to the symbolic character of consumer goods & activities
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How clothes communicate
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Hoffman (1984), How clothes communicate; Media development,4, 7-11.
psychoanalysis and the philosophy of science: The collected papers of Benjamin, B. Rubenstein & Madison, CT: International university press, Psychological issues, Monograph No
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Holt (1997a), psychoanalysis and the philosophy of science: The collected papers of Benjamin, B. Rubenstein & Madison, CT: International university press, Psychological issues, Monograph No. 62/63.