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Marketing compliance for the fashion industry

Deanna Clark-Esposito

Source: A Practical Guide to Fashion Law and Compliance, 2018, Fairchild Books Library

Book chapter

The US Federal Trade CommissionFederal Trade Commission (FTC) governs the prevention of unfair or deceptive acts or practices, which includes print and online advertising, marketing, and sales messaging. Setting both the guidelines and parameters for determining when a marketing claim would be considered deceptive, the FTC also has enforcement powers to penalize those marketers and advertisers whose content it concludes is deceptive to the average consumer.

Incorporating sustainable fashion principles

Deanna Clark-Esposito

Source: A Practical Guide to Fashion Law and Compliance, 2018, Fairchild Books Library

Book chapter

From luxury to everyday necessities, the design, production, sales, and transportation of fashion merchandise creates employment for hundreds of thousands of people, if not millions, worldwide. When you dig a little deeper, it becomes apparent that job creationjob creation derived from this industry extends to

Sustainability and Fashion

Pat Parish

Source: Pattern Cutting. The Architecture of Fashion, 2nd Edition, 2018, Fairchild Books Library

Book chapter

Waste,Consumption,We presently face much debate about the depletion of the earth's resources and issues such as ‘peak oil’ and the consequences of global warming. Whatever the truth, we cannot blindly continue without considering ways to minimize the impact we are making on the earth.

Why Do We Display?

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

It is an exciting time to be part of the visual merchandising and display industry! More thought, energy, and imagination goes into designing retail spaces than ever before. The consumer no longer comes to the store to shop but rather is on a quest for new experiences, sparking the growth of what is termed “experience design.” Shoppers empowered by technology and smartphones have changed the retail landscape. They are making up the rules, and retailers are listening—providing customers with the p

Color and Texture

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

colorphysical and psychological reactions tocolor psychologyColor psychology is very important in visual merchandising. Many theories have been espoused concerning the effects of color on people and their moods while shopping. Color can immediately create a mood. Most of us have colors that tend to cheer us up when we are feeling down and colors that calm us. Each of us also has colors that can make us physically feel hotter or cooler. The problem for the visual merchandiser is that each person m

Line and Composition

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

balancedefinedLine is a direction. It is a major part display amusingtypes ofof composition, and second only to color in creating a response to the merchandise in a display. Lines can be lineverticalvertical, linehorizontalhorizontal, linecurvedcurved, or diagonal. The way in which these lines are utilized and combined determines the effectiveness of the merchandise presentation. Each line suggests something else and, like letters combined to form words, lines are arranged to make selling “pictur

Mannequins and Alternatives

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

There are some exciting new trends taking place in the mannequin industry. Manufacturers are consulting with visual merchandisers about their needs, and their response has influenced the design and customization of mannequins. Some companies are offering mannequins with arms that detach magnetically instead of using the traditional interlocking hardware.

Fixtures

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

standsfixturesstandsThe stand is a very widely used, basic fixture. It comes with an assortment of tops that may be slipped interchangeably into an adjustable rod set on a weighted base. The base sits securely on the floor (or on a platformplatform, elevation, counter, or ledge), and the rod may be adjusted to the desired height for presenting the merchandise.

Furniture as Merchandisers and Props

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

furniture armoireschairschairsA chair can be the essence of a whole room, an entire period or style or time, or a culture. A simple, single, easily obtainable director’s chair of colored canvas and wood can imply the glamour and excitement of Hollywood, of stars and famous names, and all of that in the confines of the display area. It doesn’t take a whole sleek steamship to suggest “The Cruise”—a slatted chairsdeckdeck chairdeck chair, a bit of railing with a lifesaver attached (or in vinyl on th

Store Planning and Design

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

As retail continues to evolve so will the roles of visual merchandisers and store planners. Yesterday’s store planner is today’s “experience-maker.” The store planner is more than a space planner, decorator, and divider of the selling floor space; he or she is responsible for understanding inventory, allocation, expense control, interactive technology, strategies to increase basket size, and consumer demographics, all while communicating the corporate identity and brand values. A store planner is

Textiles: Fibers and Fabrics

Elaine Stone and Sheryl A. Farnan

Source: The Dynamics of Fashion, 5th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

A fiber—an extremely fine, hairlike strand almost invisible to the eye—is the smallest element of a fabric. It is also the starting point of a fabric. Fibers can be spun or twisted into continuous threads called yarn, and yarns can be knitted, woven, or bonded into fabrics. Though small and fine, fibers have enormous influence on fashion. They are what give a fabric its color, weight, texture, and durability.

The Textile Cycle: From Fiber to Fashion

Deborah E. Young

Source: Swatch Reference Guide for Fashion Fabrics, 4th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

The text begins with the smallest part of a textile—fiber—and follows the textile cycle through to the final step, finishing. With increasing demand for more versatile and functional fabrics, finishing and care have become major areas of interest within the textile world, unlimited in their commercial potential. For example, one segment of the textile industry is devoted to fibers and finishing processes that resist stains. In their search for more stain-resistant fabrics, researchers have develo

Yarn Basics

Lisa Donofrio-Ferrezza and Marilyn Hefferen

Source: Designing a Knitwear Collection. From Inspiration to Finished Garments, 2nd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

Yarns are the basic materials of the knitting process. Yarns are made from fibers, which are either staple or filament. Staple fibers are naturally short or cut filament fibers that are spun together to create yarn. Filament fibers are continuous in length. Many types of yarns are available, from natural in raw or regenerated form to manufactured synthetics to blends, making the assortment tremendous. Further improvements in technology and in the manufacturing and processing of fibers have made y

Sample Development

Lisa Donofrio-Ferrezza and Marilyn Hefferen

Source: Designing a Knitwear Collection. From Inspiration to Finished Garments, 2nd Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

The experience of knitting a sample on a hand-flat knitting machine is an invaluable process for designers to come to understand the principles of sweater construction. The method of hand-knitting on a machine includes increasing and decreasing to shape a garment and partial knitting to shape the shoulder and neckline. Through this experience, designers gain insight and an understanding of how a sweater's structure, styling, and finishing can affect the design. After knitting and constructing a b

Step 6: Logistics and Importing Processes

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Once production is complete and goods are shipped, sourcing personnel work with the import and/or logistics department to legally import foreign goods into the sourcer’s country. Logistics has been of increasing importance in recent years as sustainability efforts have increased. Shipping’s impact on climate change, air quality, noise, and waste has been criticized and “greener” (or environmentally friendly) logistics options have been suggested by many logistics companies. In addition, each coun

Step 7: Sourcing Performance Evaluation

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

A sourcer’s main responsibilities are fulfilled when finished goods are legally entered into the sourcer’s country and arranging for physical distribution. At the end of each sourcing project, sourcers must evaluate their performance and make suggestions to better future sourcing projects. The results of a sourcing evaluation can directly affect new product development, completing the circle of the whole global sourcing process. Typically, most business activities are examined from the cost and p

Current and Future Global Sourcing

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Port, customs, and logistics issues are another macroeconomic situation with which today’s sourcing executives are concerned (Pious & Burns, 2015). This concern reflects recent port and logistics disruptions as a result of several truck drivers’ and port-workers’ strikes since 2013 in the United States. In 2015, 20,000 or more union workers of Pacific Maritime Association went on a labor strike, causing a suspension of the loading and unloading of containers and other cargo ships for almost a wee

Introduction to Global Sourcing

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

With a clear understanding of global sourcing and supply chain, this section goes deep into global sourcing in the textile and apparel supply chain. As discussed previously, there are various members in the global textile and apparel supply chain. Figure 1.4 illustrates the interconnected relationships among various supply chain members in the global textile and apparel industry. More specifically, the ultimate suppliers in the upstream of the textile and apparel supply chain would be fiber produ

Theoretical Perspective of Global Sourcing

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

The five key theories are discussed to explain international trade: (1) the law of supply and demand in international trade, (2) comparative advantage theory, (3) competitive advantage theory of nations, (4) fragmentation theory, and (5) industry life cycle theory.

Global Sourcing Options

Jung E. Ha-Brookshire

Source: Global Sourcing in the Textile and Apparel Industry, 2nd Edition, 2017, Fairchild Books Library

Book chapter

Chapter 1 explained global sourcing as a set of business processes and activities by which businesses acquire and deliver components or fully finished products or services from outside the organization. A decision on sourcing or global sourcing is directly related to a company’s strategic decision on whether to “make or buy.” Make in this context means that a company produces parts or products on its own. Buy refers to sourcing parts or products from other organizations. Many factors must be cons

Fabrication

Sandra Keiser, Deborah Vandermar and Myrna B. Garner

Source: Beyond Design. The Synergy of Apparel Product Development, 4th Edition, 2017, Fairchild Books Library

Book chapter + STUDIO

“Every time that I wanted to give up, if I saw an interesting textile, print, whatever, suddenly I would see a collection.”

Six: Rebel Yell: Dame Vivienne Westwood

Joseph H. Hancock

Source: Brand Story. Cases and Explorations in Fashion Branding, 2nd Edition, 2016, Fairchild Books Library

Book chapter

Vivienne Isabel Swire was born on April 8, 1941, in Glossop, Derbyshire, to Dora and Gordon Swire. She has a younger sister, Olga Swire, and a younger brother, Gordon Swire. Vivienne learned to sew at a young age and always made her own clothes so that she could save her money to buy expensive and nice shoes. After attending Harrow Art School for one term, she married Derek Westwood at twenty-one and turned her hand to primary teaching. In 1963, Vivienne’s first child, Benjamin Arthur Westwood,wa

Zero waste fashion design from history to now

Timo Rissanen and Holly McQuillan (eds)

Source: Zero Waste Fashion Design, 2016, Fairchild Books Library

Book chapter

There are two broad categories of textile waste: waste created by industry and waste created by consumers. Preconsumer textile waste is created during the manufacture of fiber, yarn, fabric, and garments. The majority is fabric waste from garment manufacture. Postconsumer textile waste is created by consumers and comprises garments and household textiles. This book focuses on designing out preconsumer fabric waste: zero waste fashion design.

Pattern cutting as a fashion design tool

Timo Rissanen and Holly McQuillan (eds)

Source: Zero Waste Fashion Design, 2016, Fairchild Books Library

Book chapter

Pattern cutting is traditionally written about and taught as a specialist technique, performed by someone in a discrete role. It is treated as distinct from fashion design, and often pattern cutters are not involved in the design of the garment. They may not even be in the same location as the designer, placing constraints on collaboration. While the pattern cutter might have some sense of the amount of fabric waste that a single garment creates, she/he usually does not see the amount of waste cr

Zero waste fashion design: the basics

Timo Rissanen and Holly McQuillan (eds)

Source: Zero Waste Fashion Design, 2016, Fairchild Books Library

Book chapter

There are five primary criteria to negotiate during the zero waste fashion design process: aesthetics, fit, cost, fabric waste, and manufacturability. These depend on context. Just as different sets of criteria may be appropriate in different contexts, the criteria may bear different weights depending on context and the stage of design process you are in. However, the elimination of fabric waste should never be used to justify a compromise in aesthetics or fit; nor should it result in undue incre

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