Fashion Theory And Fashion Practice - Literature review Example

Fashion Theory and Fashion Practice Fashion is considered an art of cultural construction that seeks to portray one’s identity in a particular social context. It is a diverse field that allows individuals to display their ingenuity and craftsmanship without limiting their creativity (Barbosa & de Souza, 2013). Fashion Theory provides a platform for the extensive analysis of various cultural phenomena that range from simple to sophisticated cultural concepts, whereas fashion practice is a field that covers a wide array of contemporary design within the context of the fashion industry. This sector is largely characterized by high levels of innovation, creativity and ingenuity coupled with advancement in fashion technology. This makes the industry very vibrant and responsive in reference to the latest technological changes and trends in the market. Fashion Practice hence seeks to provide a platform upon which various design theories impact on technology and the socio-economics of the industry. This interdisciplinary field of fashion practice also works to address various aspects of corporate business including digital production in the fashion industry (Barbosa & de Souza 2013). Many scholars have come to appreciate fashion and the dynamism that comes with it. It is no longer confined to clothing and textile designs but extends to tattoos and piercings. This is a clear indication depicting that fashion has both ‘meaning’ and ‘form’. It is through this art that cultural construction is exhibited by individuals’ identities, beliefs and practices. The journal seeks to examine the innovative aspects that are explored as cultural aspects of design and fashion. Moreover, being quite a comprehensive field, it features substantial reviews in its analysis and probes into other related disciplines such as marketing, management, cultural studies and material culture (Scaraboto & Fischer 2014). Fashion is fundamentally a billion-dollar industry that cuts across different lifestyles, product diversities and consumers’ purchasing power. These elements tend to vary from one country to another owing to cultural diversity, the nature of the target market and the degree of innovativeness. Products that are considered fashionable by a particular group of people may be seen as archaic or passé by another group; demonstrating how dynamic and expansive this industry is. One common characteristic that is prevalent in this industry is that every individual has their own view, taste and preference on what constitutes fashion (Baskerville & Myers, 2009). The designer’s image and fashion is what contributes to a company’s brand and is a very essential component of fashion marketing. Specific fashion styles and designs form specific components that are used as marketing concepts as it has been construed in a couple of article reviews. Ralph Lauren for instance, has established a fashion empire through creative, innovative, original designs that have stood out in the fashion industry (Sekiguchi 2013). In essence, fashion theory depicts how designers can create brand loyalty through the effective use of fashion tools in a creative way. As exhibited in various journal reviews, fashion practice touches on all aspects of the fashion industry right from retail to performance. Like any other art, it mainly depends on the designer’s ingenuity but follows a particular trend that is characteristic of a given market and the needs of that target population. Prior to 19th century, most clothing designs and fashion were custom made. With the advancement in technology, the fashion industry has experienced a facelift in this modern era (Atik & Fırat 2013). Such technologies as the sewing machines, the establishment of a factory system of production and many retail outlets in the international market has enabled the industry to take major strides in as far as global capitalization is concerned, hence the growth of the clothing industry and subsequently fashion practice. Currently, fashion is a highly globalized industry with clothes and textiles being manufactured in one country, designed in another, and later sold to, again, a different region. As demonstrated in peer reviews, the fashion industry is one of the largest employers in the United States within 21st century and it continues to grow and establish its roots in various states owing to its dynamism and ready market (Atik & Fırat 2013). Donna Karan and Chanel have establish that the fashion industry has four distinct levels. First is the production of raw materials, fundamentally fiber or fabric. It may also include leather and fur depending on the final product and design. Second is the production of the fashion products by the manufacturers or fashion designers. Third encompasses branding the products to identify with the manufacturers or fashion house. This falls under the sales and marketing docket. It is essential to brand the products so that consumers can easily identify with them and promote the brand that meets their needs and preferences. Last are the various types of promotions and advertisements that are aimed at promoting fashion products in the international market. Advertisement works to create awareness among the target population and convince the prospective consumers to make purchases (Baskerville & Myers, 2009). All these levels in the fashion industry work harmoniously to meet the divergent needs of consumers for apparel. The effective implementation of every step works to ensure that the participants in this competitive dynamic industry operate at a profit and remain relevant in the market domain over a long period. The role of media in fashion practice and theory sustenance cannot be overlooked. Magazines, website, fashion blogs and social sites have been very instrumental in promoting various aspects of fashion trends and tips (Sekiguchi 2013). The media has provided a platform on which fashion-savvy and professional designers get to share ideas and insight on viable fashion models and theories. This works to enhance creativity and promote the fashion industry on the global arena. Some of the towns that have been known for their fashion and have well-established international fashion houses include Paris, Milan, London and New York (Scaraboto & Fischer 2014). These cities house some of the greatest fashion companies in the world; the residents in these cities demonstrate a culture that appreciates fashion and art, hence the reason for the flourishing fashion wear industry. Fashion weeks are usually organized for the designers to display new fashion collections. This has forced the designers to go an extra mile in as far as creativity and innovation in the fashion industry is concerned. It has become an inevitable venture to indulge in creative, authentic and outstanding design work to remain relevant in the market and keep at par with the other competitors. Such initiatives have worked to promote fashion in the respective cities (Scaraboto & Fischer, 2014). Major cloth line designers such as Coco Chanel and Yves Saint-Laurent have been very vibrant in meeting the needs of its customers over the years and have gained consumer trust and loyalty on the international front (Myers et al., 2011). They have also made Paris the center for fashion on which the rest of the world is keenly focusing when it comes to trendy fashion wears; depicting the significance of their brands and their performance in the market. In essence, fashion practice wholly depends on the ability to establish brands that meet the fashion needs of a particular target market during a particular era. For this reason, companies such as Coco Chanel and Yves Saint-Laurent keep a close tab on the changing preferences of the clients with time, hence are able to provide what the clients exactly need (Myers et al. 2011). In conclusion, fashion is a habitual trend or popular practice that is time-bound and keeps changing depending on age, gender, race, culture and religion, among other influential factors within the target market. this is the reason that makes the fashion industry a very expansive and dynamic sector that requires a very talented and creative labor force that has the ability to think beyond the obvious and design unique styles that will keep customers coming for more as is sufficiently exhibited by in the blooms bury journals. References Atik, D, & Fırat, A 2013, Fashion creation and diffusion: The institution of marketing, Journal Of Marketing Management, 29, 7/8, pp. 836-860, Barbosa Pinto, M, & de Souza, Y 2013, From Garment to Fashion Production: An Analysis of the Evolution of the Apparel Industry in Brazil, BAR - Brazilian Administration Review, 10, 3, pp. 304-322, Business Source Complete, EBSCOhost, viewed 12 November 2014. Baskerville, R, & Myers, M 2009, Fashion Waves in Information Systems Research and Practice, MIS Quarterly, 33, 4, pp. 647-662, Business Source Complete, EBSCOhost, viewed 12 November 2014. Carrigan, M, Moraes, C, & McEachern, M 2013, From conspicuous to considered fashion: A harm-chain approach to the responsibilities of luxury-fashion businesses, Journal Of Marketing Management, 29, 11/12, pp. 1277-1307. Myers, M, Baskerville, R, Gill, G, & Ramiller, N 2011, Setting Our Research Agendas: Institutional Ecology, Informing Sciences, or Management Fashion Theory?, Communications Of The Association For Information Systems, 28, pp. 357-372 Scaraboto, D, & Fischer, E 2014, Frustrated Fatshionistas: An Institutional Theory Perspective on Consumer Quests for Greater Choice in Mainstream Markets, Journal Of Consumer Research, pp. S183-S206, Business Source Complete, EBSCOhost, viewed 12 November 2014. Sekiguchi, T 2013, Theoretical implications from the case of performance-based human resource management practices in Japan: management fashion, institutionalization and strategic human resource management perspectives, International Journal Of Human Resource Management, 24, 3, pp. 471-486. Smith, C 2013, Adam Smiths "Collateral" Inquiry: Fashion and Morality in The Theory of Moral Sentiments and The Wealth of Nations, History Of Political Economy, 45, 3, pp. 505-522. Suddaby, R 2014, Editor’s Comments: Why Theory?, Academy Of Management Review, 39, 4, pp. 407-411. Wang, P 2010, Chasing The Hottest IT: Effects of Information Technology Fashion on Organizations, MIS Quarterly, 34, 1, pp. 63-85, Business Source Complete, EBSCOhost, viewed 12 November 2014. Wenting, R, & Frenken, K 2011, Firm entry and institutional lock-in: an organizational ecology analysis of the global fashion design industry, Industrial & Corporate Change, 20, 4, pp. 1031-1048, Business Source Complete, EBSCOhost, viewed 12 November 2014. Read More