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FASHION AND CONSUMER TRENDS (20 journals)

Showing 1 - 20 of 20 Journals sorted alphabetically
Achiote.com - Revista Eletrônica de Moda     Open Access  
CBR - Consumer Behavior Review     Open Access   (Followers: 2)
Clothing Cultures     Hybrid Journal   (Followers: 5)
Consumer Behavior Studies Journal     Open Access   (Followers: 2)
Critical Studies in Fashion & Beauty     Hybrid Journal   (Followers: 13)
Fashion and Textiles     Open Access   (Followers: 17)
Fashion Practice : The Journal of Design, Creative Process & the Fashion     Hybrid Journal   (Followers: 13)
Fashion Theory : The Journal of Dress, Body & Culture     Full-text available via subscription   (Followers: 30)
Fashion, Style & Popular Culture     Hybrid Journal   (Followers: 9)
Ground Breaking     Open Access   (Followers: 1)
International Journal of Fashion Design, Technology and Education     Hybrid Journal   (Followers: 17)
International Journal of Fashion Studies     Hybrid Journal   (Followers: 4)
Journal of Fashion Technology & Textile Engineering     Hybrid Journal   (Followers: 10)
Journal of Global Fashion Marketing     Hybrid Journal   (Followers: 6)
Journal of Media Business Studies     Hybrid Journal   (Followers: 3)
Journal of the Association for Consumer Research     Full-text available via subscription   (Followers: 7)
Luxury Research Journal     Hybrid Journal   (Followers: 2)
Textile : The Journal of Cloth and Culture     Hybrid Journal   (Followers: 26)
Transactions of the Burgon Society     Open Access   (Followers: 4)
ZoneModa Journal     Open Access   (Followers: 1)
Similar Journals
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ZoneModa Journal
Number of Followers: 1  

  This is an Open Access Journal Open Access journal
ISSN (Online) 2611-0563
Published by Università di Bologna Homepage  [34 journals]
  • Editorial

    • Authors: Daniela Calanca, Simona Segre Reinach
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8419
      Issue No: Vol. 8, No. 1 (2018)
       
  • Introductory Essay. Fashion and Cultural Heritage

    • Authors: Daniela Calanca, Cinzia Capalbo
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8420
      Issue No: Vol. 8, No. 1 (2018)
       
  • Giovanni Battista Giorgini, la famiglia, il contributo alla nascita del
           Made in Italy, le fonti archivistiche

    • Authors: Neri Fadigati
      Pages: 1 - 15
      Abstract: This essay reconstructs the history of Giovanni Battista Giorgini (Forte dei Marmi 1898 – Florence 1971) together with some events of his family; his contribution to the birth of Made in Italy and the Giorgini archival collections establishment. In particular, there are various archival collections attributable to the Giorgini family. The materials are divided between the Archivio di Stato of Florence, and the Contemporary Archive of the Gabinetto Vieusseux. They cover the chronological period from the end of the 18th century to 1971. The content of this documentation can certainly contribute to the detailed study of different aspects of Italian history, from the development of artistic craftsmanship to the importance of trade in international relations during the twentieth century.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8385
      Issue No: Vol. 8, No. 1 (2018)
       
  • Una fonte per la storia della moda italiana: l’Archivio Rosa Genoni

    • Authors: Manuela Soldi
      Pages: 17 - 26
      Abstract: The paper would give information about a first description of Rosa Genoni and Alfredo Podreider (Genoni’s husband) archive carried out between 2015 and 2016 under the supervision of Lombardy Soprintendenza archivistica (regional archive authority) and the State Archive of Milan by Manuela Soldi, who studied Genoni during her doctoral research. In Milan between XIX° and XX° century, Rosa Genoni was a teacher and a tailor famous for her proposal of Italian Fashion during the Milan International Exhibition in 1906, also known for her socialist militancy and pacifist ideas. The work on the archive highlights the bonds between the various fields of Genoni’s activities, showing the complex remaining of a life and a family. The archive is not only a source for fashion studies but also for other branch of knowledge, which needs a comprehensive description to allow its conservation and investigation.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8218
      Issue No: Vol. 8, No. 1 (2018)
       
  • Il costume di scena. Il “fantastico” patrimonio archivistico
           italiano

    • Authors: Bruna Niccoli
      Pages: 27 - 41
      Abstract: This essay discusses some of the ways in which the Art of Costume, that designed and produced high quality technical artefacts, has been collected in Italy (Roma, Napoli, Torino, Firenze, Milan and Pisa). We intend to offer a scientific documented research of these particular artefacts and of the related implications and problems that come from conservation also in Europe (France and UK). The activity of ANAI (Italian National Archives Association), is offering a state-of-the-art that has no precedent on the subject of fashion in Italy. Fundamental is the development of an impressively comprehensive portal on fashion, “Fashion Archive of Nine Hundred”, that provides precious information also on the subject of Art costume production in Italy, especially on the relation between fashion and performing arts and/or cinema (see the international worhshops in Rome: Farani, Tirelli, Sorelle Fontana and Maison Gattinoni).  From 2005 there is an agreement between the University of Pisa and the Cerratelli Foundation, targeted to the cataloguing of the patrimony. This Institution houses high quality costumes, made for the theatre and cinema, that are also included in an original scientific research based on new computer technology.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8220
      Issue No: Vol. 8, No. 1 (2018)
       
  • Le fondazioni culturali delle corporate del lusso. Collezioni d’arte
           aziendali, mecenatismo e sponsorizzazione

    • Authors: Sara Mazzotta
      Pages: 43 - 61
      Abstract: At the heart of the growing entrepreneurial partnership between luxury brands and the art business, we can see a structural closeness of two realities that today are more than ever in a winning conjunction for the spread of culture. The narrative is fairly silent regarding luxury companies involved in patronage, art collecting and sponsorship practices, especially towards contemporary art. Arts and cultural foundations have been founded by luxury companies during the last decades, motivated by the intention to place the brand in the competitive scenario of the art business. This work contributes to the literature on cultural heritage through the analysis of three case studies. It is argued how the contribution in arts and cultural heritage by luxury brands cannot be considered only as a reflection of strategic marketing actions but also as a benefit aimed to improve the cultural and local environment.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8221
      Issue No: Vol. 8, No. 1 (2018)
       
  • Fashion: Cultural Heritage and the Made in

    • Authors: Luz Neira García
      Pages: 63 - 75
      Abstract: In the last twenty years, fashion has been the main leitmotiv to more than 200 exhibitions in European museums. The rise of fashion exhibitions is linked with the recognition of the economic importance of fashion culture, which has been interpreted as cultural heritage by our society. Thus, despite the relevance of the aesthetical dimension of fashion artefacts and images, fashion exhibitions highlight the “Made in” discourse of fashion — the narrative about the capacity for creating, producing and circulating fashion cultures —, to connect artefacts and people. This article selected several European fashion exhibitions as examples, and it was possible to discuss some discursive strategies to transform the fashion culture in cultural heritage. The intention is to demonstrate that the heritagization process of fashion is based on the exploration of the fashion system and not limited to the visual and material aspects of fashion products.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8222
      Issue No: Vol. 8, No. 1 (2018)
       
  • The Heritage-Creativity Interplay. How Fashion Designers are Reinventing
           Heritage as Modern Design: The French Case

    • Authors: Ornella K. Pistilli
      Pages: 77 - 95
      Abstract: In recent years, several historical fashion houses have been relaunched with great success often getting a completely new spin in the process. Drawing inspiration from their own history, while looking at the future, these companies have turned their heritage (archives, ateliers, values and imaginaries) into a competitive tool for brand identity, capital to spend in the highly competitive context of the global fashion industry. At the core of the process, the heritage and creativity interplay is strategic. It operates at all levels and involves all components of the chain, integrating creation, design, production and communication. It sparkles the sartorial imagination to write new stories and visions. Fashion designers are reinventing sartorial archetypes along with aesthetic canons, values and brand imaginaries. They are proposing new visions and meanings, experiencing new processes and approaches, putting social, political, and cultural issues into design’s philosophy, injecting new savoir-faire into the design process. In doing so, they reinvent heritage as modern design. The purpose of the article is to profile and analyze this heritage and creativity interplay in the French fashion houses of Christian Dior — designed by Raf Simons, Saint Laurent Paris — designed by Hedi Slimane, and Balenciaga — designed by Demna Gvasalia.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8223
      Issue No: Vol. 8, No. 1 (2018)
       
  • Creatività e Cultura. Patrimoni nascosti nel settore tessile
           manifatturiero

    • Authors: Paola Maddaluno
      Pages: 97 - 104
      Abstract: A debate as to whether fashion should be considered as a creative or a cultural industry has been raging in fashion studies for several years. If we were to enter this discussion, which involves scholars of various extraction, we could say that fashion, whilst expressing the productive side of the textile and clothing sector, is “a creative and cultural industry of its own kind”. The cultural dimension and the creative dimension lead to the designing of clothes that in time will “write” a designer's story. They mark out an identity. They provide narratives of weaves, styles, colours, volumes and experimentations. They particularly reveal the dialogue between fashion designers and others involved in the process: weavers, artisans, pattern makers and embroiderers, but also chemists, engineers and mathematicians. Over time, these connections become a historical asset to be protected and enhanced.
      Italian fashion is created and built on the many connections between designers and companies. One interesting case is the relationship between Gianfranco Ferré and "Ricami Laura". It is a cultural and creative exchange based on knowledge and technique. It deals in drawings, letters, faxes, strips of fabric, sketches and designs. These materials now enable us to reveal the thought processes behind the style choices of one of Made in Italy's biggest designers and the masterful skill of embroiderers steeped in the Italian tradition.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8224
      Issue No: Vol. 8, No. 1 (2018)
       
  • I vestiti nuovi del quasi granduca Cosimo III

    • Authors: Patrizia Urbani
      Pages: 105 - 118
      Abstract: From the documents stored in the Archivio di Stato of Florence emerge unreleased sources through which can be reconstructed two stories, dating back respectively to 1635 and 1667. These stories are linked to each other by the common theme of fashion and by its possible use as indicative index of the political and economic health status of a country. Like the etiquette, fashion also records changes and socio-economic circumstances with precise effectiveness. In the middle of the seventeenth century, during a period of  economic crisis in Florence, the heir of Ferdinando II, the Gran Principe Cosimo, in spite of everything takes great care to update its clothing following the France fashion of Roi Soleil.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8226
      Issue No: Vol. 8, No. 1 (2018)
       
  • La moda napoletana in rivista (1830-1930)

    • Authors: Silvana Musella Guida
      Pages: 119 - 153
      Abstract: In Naples and the Kingdom of the Two Sicilies from the early nineteenth century, numerous magazines for the female public were printed, although the subject is still unexplored. The analysis attempts to highlight the model of women that the columns and images try to convey, letting the inevitable process of bourgeoisness emerge. The observation of the advertisements published also contributed to the knowledge of the local manufacturing, and to deepen its relations with the rest of Italy and the Europe of Belle Époque.
      In Naples, from a shy debut in the French age, the magazines addressed to the female public increased, spreading a new culture and highlighting some local specificities. The interest to the promotion of manufacturing traditions, a theme promoted by National Fairs, encouraged advertising. From the second half of the century, small advertisments, still far from modern ones, indicate the location where it was possible to buy products, even by mail.
      At the beginning of the 20th century, the magazine Regina was the first periodical to update readers on style and, through modern advertising, suggested the purchase of clothes and accessories for quality clothing. In addition to fashion articles, sketches are frequently designed by often well-known artists.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8228
      Issue No: Vol. 8, No. 1 (2018)
       
  • Reading Arbiter. Researching the Italian Menswear Fashion System
           on the Space of the Page

    • Authors: Marta Franceschini
      Pages: 155 - 166
      Abstract: The paper presents the experience of researching Arbiter, the first Italian magazine dedicated to men’s fashion. From 1935, the magazine performed its agency in relation to the Italian menswear system, entering wider debates on national and gender identity. The research leading to this paper would not have been possible without the access to the Ermenegildo Zegna Historical Archive, a corporate archive that allowed to analyse the magazine in its complete collection and to reconstruct the context surrounding it, thanks to sources such as pattern books, oral history transcripts, advertising campaigns and private correspondence. The paper will present Arbiter, reconstructing the context in which it was developed in the period 1935-1952. By concentrating on the micro-history of Arbiter, the paper will highlight the importance of fashion object in the historical research on socio-political and cultural issues. This leads to considering the value of the places where these objects are archived, preserved and made available for researchers, with the possibility to draw interesting trajectories and research paths. The ultimate aim is to reflect on the archive where this collection is kept, presenting it as a particular kind of corporate archive preserving the brand’s heritage and holding resources informing a research aiming at understanding the complexities behind the meaning of Italian Style as discourse and practice.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8229
      Issue No: Vol. 8, No. 1 (2018)
       
  • The Celebration of Heritage in Soviet Fashion: the Case of the Perm
           Fashion House

    • Authors: Iuliia Papushina, Roman Abramov
      Pages: 167 - 182
      Abstract: The USSR created the largest system of fashion design in the Socialist world, but regional Soviet fashion houses have not attracted much attention from social science. This paper examines the cases of two designers from the Perm Fashion House and their experiments with heritage in fashion design. These designers can be viewed as representatives of different approaches to the application of traditional costume heritage in Soviet fashion. The findings of the paper reveals Soviet state legitimized limited part of the Pre-Revolution Russian cultural heritage namely  folk decorative motifs and applied arts disregarding other kinds of heritage as sources for designers’ inspiration. In the Late Socialism period folk-inspired design was the top-down initiative promoted in design colleges, fashion magazines, but not available for mass production. The results also shows the designers creating collections for an inner market had more freedom than the ones designed for international trade events.
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8230
      Issue No: Vol. 8, No. 1 (2018)
       
  • From the King to the Couturier: Rui Spohr and the Role of the
           Fashion Designer in Brazil

    • Authors: Renata Fratton Noronha
      Pages: 183 - 194
      Abstract: Until the French Revolution, power was manifested through clothing, being strongly subjected to sumptuary laws, in an attempt to protect the appearance/social status of the monarchy. In contrast, the nineteenth century promotes the rise of the couturier, the artist once called artisan. Despite the apparent democratization of taste promoted by consumption, haute couture, which is the domain of the couturier, tags fashion as a virtuous and distinctive creation. This study investigates how the couturier became a sort of arbiter, who determines taste and fashion. If the king uses ceremonial and the etiquette to enhance his sovereign image, the couturier also invents himself. From this questioning, a possible dialogue based on a local action referring to a global dynamics is proposed: a look at the construction-or invention-of Rui Spohr, a Brazilian fashion designer-who studied and lived in Paris. Besides being a fashion designer, Sphor also worked as a journaliste-déssinateur, where he gave fashion tips following international trends and sketched some illustrative models. Shortly after his return to Brazil, his articles were first published only to promote his work. In the early 1990s, he returned to his position at the newspaper company, this time as a great name in his working area, delimiting his acting space. 
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8231
      Issue No: Vol. 8, No. 1 (2018)
       
  • Museo Boncompagni Ludovisi, la storia e il progetto museale

    • Authors: Matilde Amaturo
      Pages: 195 - 196
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8286
      Issue No: Vol. 8, No. 1 (2018)
       
  • The Ephemeral Museum of Fashion

    • Authors: Alessia Di Paolo
      Pages: 197 - 198
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8234
      Issue No: Vol. 8, No. 1 (2018)
       
  • La moda in villa. Moda e fashion a Villa Torlonia di San Mauro Pascoli
           nelle carte inedite del Fondo Palloni

    • Authors: Cristina Ravara Montebelli
      Pages: 199 - 203
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8232
      Issue No: Vol. 8, No. 1 (2018)
       
  • #T-Fashion Garden: una collaborazione fra l’Università di Bologna, la
           mostra mercato Giardini d’Autore e il brand internazionale Happiness

    • Authors: Andrea Serrau
      Pages: 205 - 219
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8233
      Issue No: Vol. 8, No. 1 (2018)
       
  • Elisa Tosi Brandi, L’arte del sarto nel Medioevo. Quando la moda diventa
           un mestiere, Il Mulino, 2017

    • Authors: Bruna Niccoli
      Pages: 221 - 222
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8235
      Issue No: Vol. 8, No. 1 (2018)
       
  • Ornella Cirillo, Mario Valentino. Una storia tra moda, design e arte,
           Skira, 2017

    • Authors: Anna Paola Pascuzzi
      Pages: 223 - 224
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8236
      Issue No: Vol. 8, No. 1 (2018)
       
  • Daniela Baroncini, Scrittrici e giornaliste di moda, Bruno Mondadori, 2018

    • Authors: Giampaolo Proni
      Pages: 225 - 226
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8238
      Issue No: Vol. 8, No. 1 (2018)
       
  • Wessie Ling, Simona Segre Reinach (Eds.), Fashion in Multiple Chinas:
           Chinese Styles in the Transglobal Landscape, I. B. Tauris & Co., 2018

    • Authors: Stefano Marino
      Pages: 227 - 229
      PubDate: 2018-07-24
      DOI: 10.6092/issn.2611-0563/8237
      Issue No: Vol. 8, No. 1 (2018)
       
 
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