Using Soft Systems Methodology to Improve the Colour Forecasting Process

Colour forecasting is a process where attempts are made to accurately forecast colour for fashion-related products that consumers will purchase in the near future, usually two years ahead. Seasonal colours are recognised as a powerful driver of sales. Currently trend forecasts are marketed and sold globally. The information is broad and generalised and does not take into account colour preferences. In the study the anticipation of consumer acceptance was identified as the weakness of the process and an improved system model was developed replacing the anticipation stage with consumer colour acceptance data. The improved model is considered highly beneficial for fashion-related industries to adopt in order to increase their competitiveness in the global market and to assist waste reduction (unwanted products) that impact on the environment. In this paper the development of the two models is presented and discussed in an attempt to purposely promote the usefulness of soft systems methodology for design research

How the colours we wear may affect our health

Colour therapy is a vibrational medicine based on Einsteinian and Quantum Physics theories using colour vibrational energies to rebalance the body’s subtle energies to create states of holistic well-being. It is thought that vibrational medicines affect the resonation of the body’s cells and organs through the body’s ability to absorb and emit electromagnetic energies through the skin. In epidemiological studies the effects of these invisible energies, environmental electromagnetic energies and nutritional and chemical changes in the body and are of particular research interest (Gerber1). Positive energies are considered to work in harmony with the body. However there are harmful energies, or negative energies that create imbalances which are thought to result in physical illness. Also when the body is subjected to prolonged and excessive amounts of a frequency it is thought to eventual act as a negative energy (a type of electromagnetic pollution) first affecting psychological and emotional health followed by physical illness or disease (dis-ease). The application of coloured fabrics to the skin is a method used to allow the body to absorb the required frequency to rebalance the energy system. Given that the colour frequencies of fabrics can be used to alter energies to heal the body then it must be possible for the reverse to happen. This paper contemplates vibrational energy theories in relation clothing to support the hypothesis that the colours we wear may affect our health

Fashionitis: Can the colours we wear affect our health

Colour therapy is a popular ancient healing art that makes use of colour vibrational energies to balance and harmonise the body’s subtle energies and physical organs in order to create a state of holistic well-being and good health. Vibrational medicine uses Einsteinian and Quantum Physics theories, which considers the human body to be a dynamic energy system. Vibrational medicines are thought to work through the body’s ability to absorb and emit energies through the skin and affecting the resonation of its cells and organs. Suppressed negative energy is thought to eventually transpire as an emotional dysfunction which in turn further transpires into a physical disorder (dis-ease). Negative energies are considered to be toxic in nature and akin to other harmful radiations such as those emitted from electrical appliances. These invisible electromagnetic frequencies are the subject of epidemiological studies and include imbalances or blockages to the human energy system caused by the affects of nutritional and chemical changes and electromagnetic tensions from the environment (Gerber, R, 2000). Energies that work in harmony with the body are considered to be positive, whereas negative energies and excesses of energy frequencies create imbalances in the human energy system resulting in illness. Negative energies therefore need to be released and the energy system replenished with positive energies. Given that frequencies of colour are thought to have the potential to rebalance the energy system, by introducing energies that the system is lacking or by dissipating excess energies; and that coloured fabrics act as colour filters, then it is possible that the colours we wear affect our health. This paper considers the theories of colour as a vibrational energy and its potential to affect our physical and emotional health through the proximity of the colours we wear

Colour & Trend Forecasting in a Sustainable World

This paper challenges the underlying philosophy of the colour and trend forecasting sector and the process currently used to market and promote trends that are contributing to excessive mass consumer consumption and the mass production of devaluing fashion product. It discusses how the trend forecasting sector needs to change to support a sustainable fashion system, beginning with colour. Such change is essential in light of the popularity of nostalgic tendencies, the availability of new shopping channels and in recognition of enhanced shopping experiences enjoyed by consumers while seeking fashion products that better resonate with their own tastes and lifestyle choices

The Transformation of a Charity Shop into a Specialist Fashion Store

More than ten years ago, a Guardian columnist observed a growth in the charity shop sector due to an increase in the number of such outlets on the high streets of towns and cities in the UK. The Guardian more recently reported on a new charity store image evidenced by brand-new charity fashion boutiques being launched by Oxfam in London. This new mode of charity store sold selected re-styled and re-designed items created by young designers from the London College of Fashion. The article stated that ‘the charity was taking its first step towards a more fashion-conscious image: away from the slightly battered shoes and oversize floral skirts it's known for and into the world of designer one-offs and couture accessories’ (Freeman, 2008). It is unquestionable that charity shops have the potential to offer good value fashion to people on a budget as well as attracting fashion-conscious customers. However, if the charity shop is to make the most of this opportunity then certain retail practices are in need of change. The aim of this research was to explore the current trend of UK charity retailers upgrading towards a new target market through the launching of specialist fashion stores and to examine effective strategies for charity shops to achieve up-market fashion retailing. Three retail models from the literature review were used and the research makes use of illustrated visual evidences to demonstrate the performance of charity shops compared to up-market fashion stores. Structured observations, photography and semi-structured interviews were used to develop a new ‘Mannequin Model’ to provide a strategy for charity shops wanting to move into the mid-upper levels of the fashion market. A synthesis representation of localisation and specialisation was found to have potential for launching a specialist fashion outlet in the charity retail sector

Brazilian Portuguese Words for Design

Brazilian Portuguese is the Portuguese spoken in Brazil, which has slight differences from the Portuguese spoken in Portugal. One may try to understand such differences by comparing them with the dissimilarities between the American English and the British English. Although this article does not intend to establish potential differences between Brazilian Portuguese and Portuguese spoken in other countries, such as Portugal, it is important to bear in mind that divergences in meaning of words for Design in Portuguese in different places may happen, following the historical, cultural, social and economic concerns of each place. Words for design in Brazilian Portuguese are rich in diversity. Naturally, the multiplicity of words has similarities in their denotative meanings, and some of these words are synonyms. Each particular meaning may be considered complementary to another for a closer understanding of what the English term means, for there is no single Brazilian Portuguese word which would translate the complexity of the word design in a precise and succinct way. This is perhaps the main reason why the English word design is largely adopted in Brazil

Application Research of 3D Printing Technology on Dress Forms

Abstract— Dress form is an essential tool in the clothing-making process for pattern block development, draping and quality inspection. However, it is noted that a single dress form is not applicable for a large variety body shapes. There are adjustable dress forms and custom-made dress forms to attempt to make up for the insufficiency of conventional dress forms. However, such types of dress forms are rather costly and their effectiveness is debatable. With this is mind, a customised adjustable kit for the dress form was developed, with the aim to cover different sizes and shapes more precisely. The kit adopts 3D printing technology which enables generating and changing the shape of components efficiently

The value of design in craft for a more sustainable future

Key concepts of sustainability in the contemporary consumer society include cradle-to-cradle, slow-fashion, locally-made, re-use, recycle and re-make (or upcycle). Each of these concepts focuses on the design and manufacture of products that are essentially made to comply to a theoretical sustainable framework, thus enabling people to live in harmony with our planet. In an ideal world we would consume and waste less however, to be truly sustainable we also require a healthy economy and so there is dichotomy to be resolved in our consumption behaviours and economic needs; Craft practices have been identified as fitting the bill rather aptly allowing us, in theory, to consume goods at less expense to the environment. Currently we are experiencing a period of, let’s call it Crafts Nouveau, unlike the Arts and Crafts Movement of the late nineteenth and early twentieth centuries where craft was employed by designer-entrepreneurs, and unlike the Art Nouveau Movement which again harnessed the skills of designers and artists, today amateur craft-workers are joining the trained artisans in bringing hand-crafted items to the marketplace in their droves. Online platforms such as eBay and Etsy are helping such keen, but untrained producers of craft articles to set up micro businesses to sell their wares adding considerably to the amount of stuff available to consumers. As Luckman (2013: 260) states with regard to Etsy, there is ‘no gatekeeping around formal training’ and that this ‘inclusiveness’ potentially fixes a price of less value to all craft items, including the work of those with comparatively higher skill sets and expertise. The Craft Council (2014) reported 11,620 craft businesses operating in the UK employing around 43,250 people, of which, almost 17% are unregistered microbusinesses; while it is not to say that all of these unregistered businesses are run by amateur crafters, but the concept of devaluing skilled craft labour may still be appreciated within this. This paper explores the value of design in craft from a theoretical perspective, drawing on a broad range of texts beyond those confined to craft to bring about a more holistic understanding within the context of sustainable production, with the addition of observations and insights from personal experience. The personal insights originate from the researcher’s accounts and observations of the journey from crafter to trained designer to master class practitioner in order to better understand the role of design in craft in the applied sense. The researcher continues to practice secondary to academia for the purpose of pleasure, experimentation and for further learning and research purposes. Research approaches are used to develop this inquiry to evaluate the role of design in the wider concept of craft as a sustainable means, both economically and socially. While the larger body of research considers a range of crafts, the emphasis in this paper is on those related to textiles given the researcher’s experience and the relationship with fashion, trends and marketing, which must not be discounted as a driver of the current craft revival. As the research study is still in its infancy the purpose of this paper is to attempt to begin to consolidate a range of perspectives gained from theory and observational research in order to invite a critical debate around the value of design in craft and the new craft movement in the context of sustainable futures

Lolita Fashion: A trans-global subculture

While there are some who would argue that the origin of Lolita fashion can be traced back to fiction (namely, the 1955 novel, Lolita, which was adapted to film in 1962 and again in 1997) and has relevance to sexual attractiveness with reference to the young, this popular style developed more recently into a subcultural identity in Japan as a distinctive style in its own right. This article regards Lolita as an independent street fashion and subculture and explores this particular culture that Lolitas (those who wear this distinct fashion style) have created. Although a small-scale subculture, Lolitas demonstrate an obvious way of thinking and behaving which reinforces their identity of which fashion plays a significant role. The fashion style suggests escapism through fantasy as it can be interpreted as a visual resistance against conventional culture and is therefore of interest to a range of disciplines including fashion, culture and behaviour theorists. The article explores this subculture in the UK context to provide a better understanding of British Lolitas and evaluates the marketplace to offer a retail-marketing perspective