Fashion and digital culture

Tekstilna industrija, 2023

The tendency of dressing in the new so-called "digital age" in the new not only fashionable but also global period is this-the individual needs to feel modern and unique, in that order it is necessary for him to be a part of the new world filled with avant-garde, co-formism, eclecticism, mega-popular goals, semiotic universals, to be outside the limits of the normal, generally accepted and conventional. Of course the same goals are in sync with the global world, its policies, social arrangements, rules and principles, not only in fashion but also in life in general. The fact that events in life and global changes (regardless of their nature) affect the changes that take place in fashion and the fashion world is undeniable. Today, we encounter modern materials, a product of new technology and science in general, which enable a greater level of sustainability and usability. Their representation in the collections is not accidental, the fact that the fashion shows are becoming ultra-modern, which are presented in an absolutely unconventional way by ultra-modern supermodels, requires the appropriate production of the same models from suitable materials that will correspond to the technology of the new century. The idea is to present a fashion collection in the most modern way possible-virtually, with the latest technology, through a modern mix of social platforms, supported by the most avant-garde models, in the most exotic places, in the most unusual way possible, complemented by modern technology, complemented by brilliant stage effects.

Prof.Dr. ELSAYED AHMED ELNASHAR, Ph.D. Full-Professor of Textiles &Apparel, Faculty of Specific Education, Kafrelsheikh University, Egypt., 2019

Abstract Contemporary fashion and its artistic values in the fifth generation of technology and its impact on social realism, one of the values of the art of modern fashion and modern digital art, according to the fifth generation of modern technology that supports various types of visual arts, including abstract digital arts. Fashion Figurative and deny each other and reflect it. Although both are “fashion art”, they are very different from other types of arts. The main reason for this is the lack of a clear dividing line between “fashion” and fifth-generation technologies. This research is an attempt to review a different approach to uncover the profound differences between figurative in contemporary drawings and some aspects of digital arts in accordance with modern fifth generation technologies. He also examines these technical phenomena by embedding fashion in the abstract values of fifthgeneration technologies. It is assumed that fashion, in all its branches, represents a special embodiment of some of the basic characteristics and values in the art of contemporary fashion and abstract values in photography. The most important thing in art is that contemporary fashion, in accordance with the technology of “communication / separation” in the fifth generation of high technology, receives “social realism”. It can also be concluded that all figurative artworks share these mental qualities, which cannot be shared by “non-diagnostic” works of art. Keywords: Fashion Figurative; social realism; contemporary fashion art; fifth generation technology

International Journal for Research in Applied Sciences and Biotechnology, 2018

This comprehensive review is on the dominance of digital technology in fashion design, aesthetics, and profound jounce on the values of individuals in contemporary society. A commensurate understanding of the relationship between digital technology, aesthetics and fashion design is essential to examine the developments, transformation, and socio-cultural surprises in the years to come. Hence, the aim of this research is to bequeath insight and impart new knowledge to the literature encapsulating the following complex interplay between digital technology, fashion design and aesthetics impacting the psychological influences and emotional contagion in the society : (i) introduction of the world of wearables (WOW) that crosses boundaries between many disciplines using wearable operating system (WOS), (ii) describes the indispensable pillars of design imagination that express the product’s defining points of importance, (iii) demonstrates digital transformation is a mindset than about technology for the fashion design and development process, (iv) reveals aesthetics as 5C (comfort, communication, care, convenience,and context of usability) experience that actualize user bond and loyalty, (v) justifies fusion of digital technology, aesthetics, and fashion design that offers an array of amazing advantages that creates value for the consumer, (vi) characterizes the power of digital technology on fashion industry creating pervasive phenomenon in the contemporary society, (vii) deliberation and critical rumination on the fashion designer-a bridge between the technology and the consumer that prominence the socio-culturalchanges globally, (viii) concludes “less is more” is a key guideline for smart fashion wearable (SFW) design and substantiates that designers will not succeed until it is designed from the fashion perspective –not as technology that can be worn, but as fashion design that contains technology.

Nauka televideniâ, 2022

The paper analyzes the concept of digital corporeality and identity and their representation in virtual images of digital fashion. Digital fashion is a new field of fashion that develops in the interdisciplinary space made of information technology, gaming industry and digital art. The article assumes that the digital fashion body depends neither on the human nor the human body. The digital body is non-human and it explicitly represents a posthumanist corporeality as a cyborg formation (D. Haraway). It assembles through machinery and becomes randomly fixed assemblages (G. Deleuze, F. Guattari; M. Delande). The author draws on concepts of new materialism, including the concept of the plane of immanence by G. Deleuze and F. Guattari's, J. Bennett's vibrant matter and K. Barad's agential realism. New materialism shows radical change of the digital corporeality discourse. The author analyzes digital fashion projects posted on digital fashion retail platforms, such as The Fabricant, Dematerialised, DressX, Artisant, and works of digital designers who have gained fame through participation in digital shows.

2021

In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of ...

Contemporary fashion and its artistic values in the fifth generation of technology and its impact on social realism, one of the values of the art of modern fashion and modern digital art, according to the fifth generation of modern technology that supports various types of visual arts, including abstract digital arts. Fashion Figurative and deny each other and reflect it. Although both are "fashion art", they are very different from other types of arts. The main reason for this is the lack of a clear dividing line between "fashion" and fifth-generation technologies. This research is an attempt to review a different approach to uncover the profound differences between figurative in contemporary drawings and some aspects of digital arts in accordance with modern fifth generation technologies. He also examines these technical phenomena by embedding fashion in the abstract values of fifthgeneration technologies. It is assumed that fashion, in all its branches, represents a special embodiment of some of the basic characteristics and values in the art of contemporary fashion and abstract values in photography. The most important thing in art is that contemporary fashion, in accordance with the technology of "communication / separation" in the fifth generation of high technology, receives "social realism". It can also be concluded that all figurative artworks share these mental qualities, which cannot be shared by "non-diagnostic" works of art.

International Journal of Fashion Design, Technology and Education, 2021

This paper focuses on the field of digital fashion and its development by providing an overview regarding fashion design and culture. It is part of a larger research that involved a literature review of 491 relevant papers. From the analysis of this corpus, three main categories were identified: Communication and Marketing, Design and Production and Culture and Society. This study focuses on the categories Design and Production and Culture and Society, which collectively gathered indicatively 48% of the selected literature. It presents its relevant studies and sub-categories, providing a rich and varied map of them and contributing to better design in further research in digital fashion.

2022

Anna Keszeg: Redesigining Fashion Media Operations of Contemporary Fashion /Case Studies/ ACTA UNIVERSITATIS SAPIENTIAE SOCIAL ANALYSIS 12. évf. : 2. sz. pp. 169-172. , 4 p. (2022)

2019

We are happy and thrilled to introduce this thematic section of Studies in Communication Sciences (SComS), devoted to Fashion Communication. It was about two years ago when we first discussed the idea in Madrid: then we got the approval by SComS Editors, published the call, and eventually secured the outstanding collection of papers you have in your hands (or on your screen). A long and enriching journey, full of interactions, conversations, views and reviews, a journey that makes the scholar's work so fascinating (even if, sometimes, not that fashionable). This editorial has two main goals. On one side, it aims to provide a helicopter view on the topic, exploring fashion as (also) communication (par. 1); how communication and its media have been intertwined with fashion and its related industries and practices (par. 2); how recent digital transformation has impacted fashion, making room for new communication affordances and business models (par. 3). On the other side, it presents the collected articles, placing them on the abovesketched map of fashion communication (par. 4): their diversity and complementary nature is for sure a great richness for this issue of SComS and for all its readers.