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173 Creative Fashion Research Topics: Awesome List Of Ideas

The 21st century has amplified fashion such that even a newborn knows about it. However, the challenge of finding unique fashion topics always baffles both college and university students. That is why some of them end up copying whatever they find online or guess whatever comes to mind.

Do you want to save yourself all this unnecessary drama? Keep reading this exceptional guide.

Fashion Industry: Definition

Now, fashion refers to a form of expression at a given time, place, and culture. You may have heard of the latest smartphones, clothing, or even cars – well, that is part of fashion. It is not only limited to clothes and fine jewelry in the boutiques.

For something to be fashionable, it has to do with either new or dominant clothes, hairstyles, accessories, make-up, footwear, or lifestyle. A lot comes into play when it comes to fashion, and as such, it is always subject to change every time. Now that we have jogged your memory on the definition of fashion, let’s get into how to prepare and write a fashion-related thesis paper or art dissertation .

Getting Started With Your Fashion Research Paper

Before you engage in any undertaking, there is the planning process. That is what we want to cover in this section with regards to acing your fashion paper. Now, I know that thousands of websites guide me in writing a top-level research paper on fashion. However, ours is unique – we provide professional tips from our reliable writing service that you will never find anywhere else.

Stay with me as we start journeying through this together:

First, understand your research question on fashion: This is a critical step that will shape how you will answer the question. Break down the question into bits that will help you understand what your professor wanted from you. Second, dive into the research process: I know most lazy students would not want to hear about this step at all. However, it is also crucial in helping you determine the topic and content that will go into your fashion research paper. Select an appropriate topic: After looking at what others have done and identifying the gaps, pick a topic that best communicates your idea. Remember that the subject should be concise, catchy, and appealing to anyone at first sight. Proceed to write an engaging thesis statement about fashion: This is what drives the direction of your essay, and as such, it should be in-depth. A thesis statement on style should capture what you intend to talk about and set the objective for your paper. Draft informative topic sentences for your body paragraphs: Every topic sentence should marry with your thesis statement. A person reading your topic sentences should relate them to the question you posed in the thesis statement. The right topic sentences will give life to your dissertation on fashion in a fantastic way! Looking for supporting evidence: You should be able to back up your topic sentences with trustworthy examples and illustrations. These can either be statistics or case studies, depending on the fashion topic that you are handling. Find an exciting concluding remark: Never underestimate the power of the conclusion paragraph in any form of writing. It determines what the reader will take home after going through the long and tedious body paragraphs. Therefore, it should be as captivating as possible.

After tackling the preparation and writing part, I know you may be asking, ‘where can I find writing ideas for fashion research papers?’ Well, the answer is one scroll away, my friend:

Fashion magazines and books
News stories on fashion events
TV documentaries
Online fashion stores and blogs
This fantastic article (Did you think that I would leave it out?)

You are as ready as a horse prepared for the battle to crush any fashion assignment with all these. But for now, here are 173 of the most impressive fashion ideas for your inspiration.

Engaging Fashion Research Topics

What your fashion taste says about you and the psychological impact of fashion
How have women’s movements impacted today’s fashion?
What is the correlation between fashion and 20th-century women empowerment?
The brighter side of invisible branding in fashion
Tools used in fashion marketing
Understanding fashion cycles: From trendy to obsolescence
The impact of fashion in movies on the youth
The role of garments in prehistoric ages
The evolution of style from the 20th century
The role of class in promoting a culture
What influence does the military have on culture?
Understanding the fashion industry: A Multi-billion dollar industry
Fashion trends that were influenced by 1980s music.
The role of dressing in subculture identification
Fashion dressing in the golden age of Queen Elizabeth Era: What it meant ad how it defined social status.
Evaluate why women pay a close look at what they wear than men

In-Depth Fashion Topics For Students

What is the net profit and benefit of the fashion industry?
Fashion ideas that originated from the 80s and are still used in the modern society
The role of fashion in pushing for social agendas
Legalizing of Bhang: Is it just fashionable or a necessity?
Evaluate Retro fashion trends in the 21st century
Investigating the ethics of suing flesh and fur in high fashion
The science behind fashion trends
The Psychology of cross-dressing: What is fueling the massive cross-dressing in today’s society
Luxurious and Royal Fashion trends during the Cold War
Discuss how the media impacts what people wear
What is the relationship between art and high-end fashion
How is the LGBTQ community impacting the fashion industry today?
Icon case study: How music has influenced the successful running of Fenny Beauty
How significant is a celebrities influence on fashion trends: A case study of Beyoncé
Luxurious fashion companies and their impact on the general fashion trends
Investigating the influx of designer products in the fashion market: Have they come affordable, or is there a leak in the market?

Best Quality Fashion Topics To Discuss

The impact of fake luxurious products on the high-end fashion industry
Investigating working from home the new fashion lifestyle: What is the cost-benefit analysis of working from home
Examining The recent boom in the wig fashion industry
How big is the trending make-up industry ad what is its impact on the economy
How Celebrity events push fashion trends
How fashion translates the empowerment of the modern woman: A case study of Serena William
How masks evolved from protective gears to fashion statements and the danger in the prevailing Covid’19 pandemic
How fashion influences the psychology of its consumers
The role of style in music in influencing teen fashion taste: A case study of Taylor
Investigating the relationship between fashion and royalty during the Queen Elizabeth era.
Analysis of the development and growth of fashion: A case study of Australia
How Britney Spears pioneered the low rise jean fashion trend
Investigating the hair industry: Who are the leading suppliers of hair in the globe, and who are its consumers
How fashion can alter your look: How to look slimmer or curvier using fashion hacks.
Source of leather for your fashionable belt, shoes, and wallet
A study of the entry of trendy beard products into the hair industry

Excellent Fashion Topics To Write About Today

An analysis of sustainable and ethical fashion brands
The role of innovation and creativity in the running of the fashion industry
A complete guide for buying fashionable high-end textile materials
Understanding the concept of enclothed cognition: The impact your clothing choice has on your mental process
Smart Casual: The latest trendy office fashion
What is the role of fashion accessories in our dressing?
The fashion statement of a handbag in every woman’s life
Ten niches in a fashion that do not exist but should exist
A review of the book Queen of Fashion by Marie Antoinette: How has it influenced style as we know it today?
Investigating the impact of fashion trends in the running of a business
compare and contrast between the European and African fashion
Understanding denim as a fashion trend
How big is the Vlog mass industry, and what is its role in pushing fashion trends
How do age and gender affect what people wear?
Why you should consider the prevailing fashion trends before starting a business
Is Vlog a fashionable wave, or is it here to stay?
The role of Tik-Tok in creating fashion trends and propagating them
Understanding the Androgynous model: A case study of Willy Carter

Good Research Paper Topics-Fashion

How the online industry has changed fashion
Discuss the effects of various professions on what people wear
How successful was the rebranding of Abercrombie and Fintech in 2019
A study of the balance between style and functionality
How do Fashion High-Tea events influence people’s wardrobes?
Strategies to market luxurious fashion brands
How luxury fashion is branded and its importance
Discuss the effect of COVID-19 lockdowns on fashion
The role of style in celebrity branding
The rise of fashion in developing countries
The impact of trends on the psychology of the consumer
Analyzing the relationship between fashion and pop culture
The role of Jane Austen boos in defining fashion in the golden age
Style in the time of Jane Austen
How fashion affects the 21st-century movies and films
Understanding luxurious fashion advertisement
What are the challenges of the fashion industry?
How necessary is liquidity in the fashion industry

Quick Fashion Research Paper Topics

The role of photography in the marketing of fashion brands in today’s world
Marketing strategies of the fashion industry in the 80s
The role of digital print in today’s fashion marketing
The part of the color in fashionable dressing
Understanding fashion and feminist movements
Understanding fashion and Masculinity
How aesthetic is essential in fashion
Investigating colorism in fashion
The role of style in public relations
Investigating the role of class in politics
Did type exist in medieval times?
The importance of Red Carpet events in the fashion industry
Discuss the role of religion in what people wear
Factors that influence change in fashion trends
Global premium fashion brands and how they rose to the top
How fashion in the western world influences the rest of the globe
The relationship between style and symbolism
Investigating sexism in fashion advertisement campaigns

Best Fashion Prompts In 2023

The contribution of fashion to economic growth.
How racism is prevalent in fashion advertising
Traditional textile fashion designs and their reemergence in the 21st century
A study on the earliest American fashion
Effects of fashion on people’s self-esteem and self-worth
Understanding how fashion styles trend
The role of crossover fashion in comedy
Is crossover fashion the next big thing?
The mechanism of the fashion industry: How it works
Characterizing modern fashion dressing
The relationship between cancel culture and fashion
The role of culture in shaping social trends
Discuss the rising culture of fashion among the youth
Why it is essential to consider the style for a wedding ceremony
How the fashion industry has created employment
How different seasons of the year determine what people wear
The impact of covid-19 on our current lifestyle

Custom Fashion Discussion Topics

Did the pandemic have any impact on fashion trends?
Investigating the relationship between fashion, identity, and culture
What is the relationship between fashion and religion?
A list of celebrities considered fashion icons ad their contribution to fashion trends.
The relationship between plastic surgery and pushing fashion brand
Investigating the influence of fashion trends on the mental health of a community
The innovation of Nylon in the fashion industry
Investigating the decline of some fashionable attires. A case study of the tie
The concept of In cooperating fashion designs in school uniforms for expensive schools
Trade fairs in the fashion business
The role of women in the fashion industry
Challenges to expect as an entrepreneur in the fashion industry
Contrasting the use of men vs. women in marketing fashion designs
A guide on building a successful fashion business
The evolution of minimalism in fashion dressing
The necessary skills to learn before starting your fashion business
Top trendy fashion style by entrepreneurs
Relationship between liberalism and fashion
Understanding the influence of feminism on fashion

Top Fashion Marketing Writing Ideas

How are online stores promoting fashion in developed nations?
Emergent fashion trends following the pandemic
Impact of climate on fashion trends
Fashion trends for people with disabilities
A study of the baby clothing fashion industry
Understanding organic VS synthetic fashion trends in the market
Analyzing the direction of adults looking like children
A study in the origin of the motif
A study on the falling popularity of office wear in the workplace
How working at home has impacted the workplace office industry.
Understanding the decline in popularity of leather accessories
Investigating the sustainability of some fashion trends
Investigating the impact of fashion on the environment and its resources
The origin and evolution of beachwear
The understanding manner in the textile industry.
Where did waistcoats originate from in the US?
Checked Vs. plain fashion dressing
The trendy use of unconventional material for dressing: A case study of lady gaga

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117 Awesome Fashion Research Topics: Inspirational Ideas List

Finding some decent fashion research topics that you can use for your next papers is not easy nowadays. You want something new, something original. Your classmates are probably scouring the Internet as we speak, so why are you still wasting time? Take a look at our long list of 117 exceptional fashion research topics and choose the best one right now.

What makes our topics different, you ask? Our experts are constantly updating the list and adding new ideas. This means you will always be able to find an original idea here on this page. We will soon be adding new topics for 2023, so stay tuned!

What Is The Fashion Research Paper?

Keep in mind that finding some great fashion topics to write about is not enough. You need to be able to create a well-organized, concise research paper. To help you do just that, we will show you the 8 main parts of a research paper:

Title page (or cover page) Start with a hook to catch the attention of your readers, then talk a bit about the background of the problem and present your thesis. Literature review. Here, you will need to demonstrate that you have analyzed the literature related to the topic and that there is a gap in knowledge that needs to be addressed. Research In this section, you will explain in great detail all the methods you have used to gather the data. Be as specific as possible. Data analysis. This is the section where you present and analyze the data. Be objective and avoid discussing the results. This is the section where you can discuss your findings and prove how your research results back your thesis. Don’t forget to acknowledge the limitations of your research. Restate your thesis and summarize your research and findings. Show your readers how your findings answer the research questions. References page. This is where you list all the resources you have used to write your research Make sure you don’t miss any.

Now that you know the overall structure of a research paper, it’s time to give you some excellent topics to write about:

Brand New Fashion Research Paper Topics

We will start our list with the brand new fashion research paper topics. These have been added to the list recently, so you can pick one right now knowing that it’s original:

Fashion in Ancient Rome
The impact of Jane Austen on the world of fashion
Swimwear in the 1980s
Using bizarre colors in fashion
The rise and fall of the jeans
Peer pressure related to fashion trends
Social networking and fashion
The life and work of Giorgio Armani
Talk about hippie fashion
Fashion in Islamic religions

Interesting Fashion Topics To Write About

If you are looking for something out of the ordinary, we have a long list of interesting fashion topics to write about. Take a look at the following ideas:

The rise of the Chanel brand
Does price reflect quality?
Fashion in Ancient Egypt
The sense of fashion in women
The link between art and fashion
Discuss ethics in fashion
The relationship between style and money
The role of clothes in your culture
Interesting fashion hacks

Fashion Research Topics 2023

In the fashion research topics 2023, you can find topics that were greatly appreciated in 2023. These may or may not be as appreciated in 2024 though:

Fashion in developing countries
Research smart casual fashion
Compare Asian fashion with American fashion
Fashion and aesthetics
Marketing a new brand of clothes
Fashion in vlogging
What are cycles in fashion?
The rise of the Versace empire
Fashion in Paris

Advanced Fashion Topics To Discuss

We also have a list of more advanced fashion topics to discuss. Just keep in mind that the following topics are not easy to write about. But as an option, you can buy a dissertation on any topic.

Negative effects of fashion on the environment
Forecasting new trends in 2023
Celebrities and fashion
Negative effects of fashion on the human psychology
Influencer marketing of fashion products
Fashion from a religious standpoint
The place of leather in fashion in 2023
Largest fashion shows in the world
The importance of Fashion Weeks in Eastern Europe

Fun Research Topics On Fashion

Who said a research paper can’t be fun? Choose one of these fun research topics on fashion and start writing the perfect paper today:

Fashion in 1990s media
Funny fashion mishaps
Men in fashion advertisements/commercials
Fashion in medieval times
Crossover fashion in 2023
Can you start a fashion business?
Fashion in the royal family (the UK)
Fashion and school uniforms

Important People In Fashion

One of the easiest ways to write a research paper in the field of fashion is to research an icon. Here are some important people in a fashion that you can talk about:

Karl Lagerfeld
Stella McCartney
Audrey Hepburn
David Bowie
Princess Diana
Charles Frederick Worth
Harry Styles
Kim Taehyung
Coco Chanel
Designer Paul Poiret

Fashion Research Paper Topics For High School

If you are a high school student, you need some easier topics to write on. Check out these fashion research paper topics for high school and pick the one you like:

Fashion in Ancient Egyptian times
Michael Jackson’s fashion
Fashion in Western Europe
Fashion at the workplace
Fashion in schools in the UK
Discuss fashion in North Korea
Luxury products and the human brain
Fashion trends and the science that explains them

Captivating Fashion Design Research Paper Topics

In case you want to discuss fashion design, we have a nice list of captivating fashion design research paper topics right here. All these topics are, of course, 100% free to use:

Fashion in the LGBTQ community
Fashion in Nazi Germany
Fun facts about beachwear
The role of Versace in fashion
New York as a fashion center
Effects of Tik-Tok on fashion
The origins of ethnic clothing
Mixing 3 styles the right way
Fashion and sexism in 2023

Fast Fashion Research Paper Topics

Don’t want to spend a lot of time working on that research paper? No problem! Simply choose one of these fast fashion research paper topics:

The role of politics in fashion in the United States
Talk about wedding ceremony fashion
Talk about trends in baby clothing in the United Kingdom
The role celebrities play in fashion marketing
Talk about 3 iconic fashion characters
An in-depth look at fashion in the punk world

Fashion Topics To Research In 2023

It’s time to think about the topics that should work great in 2023. In fact, our experts have already compiled a list of fashion topics to research in 2023:

Talk about the notion of “invisible branding” in fashion
Research women’s fashion in the 1980s
The role played by art in fashion trends
Research 3 major fashion companies
Talk about the low rise fashion trend
Discuss the women’s oversized bomber jackets trend

Fashion And Marketing Research Topics

As you probably know, fashion and marketing go hand in hand. Take a look at our latest and most interesting fashion and marketing research topics right here:

Fashion marketing on social media
Fashion marketing in the 1960s
Effective marketing strategies for luxury products
Style vs. functionality in marketing
Marketing and fashion cycles
The role of fashion in TV commercials

Fashion Ideas For College Students

College students should research topics that are more complex in nature. Don’t worry though; we have more than enough fashion ideas for college students:

Research the hoodies under blazers fashion trend
Compare Asian and European fashion
Research Jane Austen’s style
A closer look at minimalist fashion
The beginning of the Haute Couture
Fashion and the Internet

Unique Ideas Related To Fashion

This list of topics has been revised recently to make sure all ideas are unique. So, if you’re looking for unique ideas related to fashion, you have definitely arrived at the right place:

Analyze the cropped cardigans trend
Research the plus-size fashion industry in Indonesia
The impact of feminism on fashion
Social issues caused by fashion
Fashion and cheap labor
Effects of religion on fashion

Easy Fashion Essay Topics

If you want to make sure you ace that research paper, you should find an easy topic to talk about. Take a look at these easy fashion essay topics and pick one today:

Discuss the notion of “color blocking”
Fashion trends during World War II
The evolution of men’s suits over the last 100 years
Fashion and child labor
What is organic clothing?
Talk about the rise of wig fashion

Creative Fashion Research Questions

Professors really appreciate creativity, so you should definitely go through this list of creative fashion research questions:

A closer look at the puff sleeves trend
The Kardashian family’s impact on fashion
How did Chanel rise to fame?
Sustainability in the fashion industry
Fashion and body types
Interesting fashion trends in Dubai
Talk about fashion in the armed forces

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Designing for circular fashion: integrating upcycling into conventional garment manufacturing processes

Reet Aus 1 ,
Harri Moora 2 ,
Markus Vihma 1 ,
Reimo Unt 1 ,
Marko Kiisa 3 &
Sneha Kapur 4

Fashion and Textiles volume 8 , Article number: 34 ( 2021 ) Cite this article

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This paper summarises the results of a more than 5-year practice-led study on the use of upcycling design and production methods in garment mass production. The efficiency of upcycling design approach is described by analysing the generation and potential use of various types of fabric leftovers from garment manufacturing. The results of this research show that depending on the size of the factory the fabric leftovers and textile waste generated in garment production ranges from 25–40% of the total fabric used. Experiments show that 50% of that material can be upcycled into new garments and for some types of leftover—mainly spreading loss and excess fabric—it can even be up to 80%. Implementing upcycling on the industrial level requires transparency to understand the waste created in garment production and create designs that suite the production system. It is important to consider that the upcycling design process differs from regular design—a garment is designed based on the parameters of the waste materials.

Introduction

The fashion and textile industry is one of the world’s most polluting industries, mainly because its volume of production dwarfs most other industries. Textiles production requires a lot of land for crops and uses a lot of water, energy, chemicals and other resources leaving often untreated pollution behind and has a highly negative environmental, economic and social footprint (Fletcher, 2008 ; GFA & BCG, 2017 ; Hiller Connell & Kozar, 2017 ; Leal et al., 2019 ; Remy et al., 2016 ). Today’s conventional fashion and garment industry is linear by nature and in addition to the impact that raw material extraction for newly produced fibre production has, textile waste has become a major problem in the sector (Ellen MacArthur, 2013 , 2017 ).

The amount of waste created is truly significant, as the European Union (EU) textile industry alone generates around 16 million tonnes of textile waste annually (European Commission, 2017 ). Much of this waste today still ends up in landfills or is incinerated. This represents a loss from a production effort which uses millions of tonnes of water and kilowatts of energy, and countless hours of human labour that could be salvaged (Leal et al., 2019 ).

While most debates and circular fashion approaches focus on the problem of used garments—so-called post-consumer waste (Fischer & Pascucci, 2017 ; Singh & Ordoñez, 2016 ), less attention is paid to the textile waste and leftovers from manufacturing garments (pre-consumer waste). Yet the environmental impact of garment production in the whole garment life cycle can be from 29 to 72% depending on the type of clothing (Steinberger et al., 2009 ).

Over the past 30 years, most garment production has shifted to developing countries, mainly in Asia, in search of cheaper labour. Global clothing supply chains are now complex involving several actors on many levels and regions making it difficult to have full oversight on them. This results in the waste generated in the production being less visible and less recognised by brands, designers as well as consumers (Govindan & Hasanagic, 2018 ).

However, awareness that the textile waste generated during garment production is a problem is starting to increase mainly of economic reasons. Fabric can make up to 80% of the total production cost of a garment, which has made manufacturers to seek ways to decrease the creation of waste as much as possible (Nayak et al., 2008 ). Recycling technologies for textile production waste and leftovers are also being sought and developed (Leal et al., 2019 ; Lewis et al., 2016 ). The problem of textile production waste is still mainly left for manufacturers to solve. The unofficial waste management system in those manufacturing countries is unpredictable and the availability of different recycling options is very limited. Therefore, most of the leftover material from garment manufacturing ends up dumped or burned.

The aim of this study was to analyse the amount and types of textile waste and fabric leftovers generated in the garment manufacturing process that are most suitable for what is called industrial upcycling so as to redirect the leftover material back into the production of new garments. In addition, a summary of innovative design methods and examples of garment designs for upcycling textile waste is presented. These methods and examples were developed and tested during this research, which also formed the foundation for the development of a new circular design business model, UPMADE. It is the first of its kind circular garment design and production approach based on the principles of upcycling and has proven to be applicable in mass production in several garment manufacturing factories in Asian countries (SEI, 2019 ).

Literature review

Circular fashion

In recent years, the circular economy, as the opposite approach to the current linear economy, has been one of the most important areas of environmental policy affecting the fashion and textile industry among others (Ellen MacArthur, 2017 ). Circularity relates to the intention to minimize waste and keep textile products within a cycle of use throughout the process of design, manufacture and consumption until they are returned safely to the biosphere once they have no further use (Brismar, 2017 ; Niinimäki, 2017 ). Today, fashion and textile companies are searching for new circular solutions to reduce their environmental impact. Over the past decade, a variety of new technological approaches to design and business models have been developed to rethink the various stages of product development and textile production with a focus on circularity, incorporating an emphasis on ecologically sustainable materials, which can easily be reused and or recycled back into the production cycle (Gazzola et al., 2020 ; Goldsworthy et al., 2018 ; Niinimäki, 2017 ). With an increasing concern amongst consumers towards the social and environmental impact of their purchases, businesses are beginning to understand the financial benefits of highlighting a circular approach. Even though the circular economy and problem of waste is gaining more attention, it can be said that fashion and textile industry still lags behind other sectors (Niinimäki, 2013 , 2017 ).

Measuring and creating visibility for textile waste can unlock major opportunities for material circulation using fabric leftovers from garment production and associated economic benefits (Bocken et al., 2017 ; De los Rios & Charnley, 2017 ). Providing innovative circular design methods for fabric leftovers and textile waste can significantly reduce the environmental impact of the fashion and textile industry and lead to a virtuous circle in which financial savings also lead to a positive environmental impact and lead to a win–win partnership (Lieder & Rashid, 2016 ).

Upcycling as a new design principle for circular fashion

More and more fashion designers are turning to the concept of upcycling. Over the last decade the term ‘upcycling’ has been coined and worked into the discourse of sustainability efforts. It first appeared in William McDonough’s book, Cradle to Cradle (McDonough & Braungart, 2002 ). The term has a number of definitions and practices and it has mainly been used in connection with fashion and textiles. Upcycling can be defined as a recycling approach where “waste”—textile leftovers that would usually end up in landfill or incineration—is used to create products with a higher retail value than traditional recycled products (Aus, 2011 ; Cassidy & Sara, 2012 ; Han et al., 2015 , 2017 ; Teli et al., 2015 ). As such, upcycling can be described as the opposite of downcycling, which downgrades the value of the material and discards the work and value invested in it.

Traditionally textile waste recycling refers to the reprocessing of textile waste (mechanically or chemically) for use in both new textile products and non-textile products (Sandin & Peters, 2018 ). Upcycling is generally understood as a design-based circular fashion approach, where pre- or post-consumer textile waste material is repurposed to create new garments (Aus, 2011 ).

Upcycling is a growing trend among fashion designers, helping to save resources and keep tonnes of textile waste out of the waste stream. More and more brands and fashion houses are waking up to the method and applying it as they seek solutions to the industry’s environmental impact and to offer socially and environmentally conscious choices to their customers. Some of the best-known upcycling designers who use pre-consumer textile waste and leftovers are for example Reet Aus from Estonia, British designer Christopher Raeburn and Zero Waste Daniel from New York (Giordano, 2019 ).

Until recently, however, upcycling has mostly been used on a small scale, sold as unique pieces or added elements in some collections, and not on an industrial scale (Moorhouse & Moorhouse, 2017 ).

Implementing upcycling on the industrial level requires transparency to understand the waste created in mass production and create designs that suite the production system and make it less wasteful. It is important to consider that the upcycling design process differs from regular design—a garment is designed based on the parameters of the waste materials (Aus, 2011 ; Han et al., 2015 , 2017 ).

One of the main obstacles to the use (and upcycling) of leftover material in the fashion and textile industry is the lack of data about the textile waste generated in the garment manufacturing. The volume of textile leftovers is systematically underreported and thus underestimated by the industry (Runnel et al. 2017a , b ). Leftover generation and fabric loss from garment production (mainly from the cutting and sewing process) is relatively well known and the manufacturers are making considerable efforts to optimise their processes and avoid or minimise waste (Nayak et al., 2008 ; Saeidi & Wimberley, 2017 ; Townsend & Mills, 2013 ). However, very little research has been done to analyse and estimate the amount of fabric waste that is related to other problems with fabric quality as well as manufacturing and resource planning (Runnel et al., 2017a , b ).

Although upcycling uses traditional fashion design techniques (e.g. sketches, mood-boards and sample making), the designs are determined by the available surplus stock of fabric leftovers that can vary in size and shape. Therefore, the starting point is always a detailed overview of the waste streams and identifying the type and quantity of available materials (Aus, 2011 ). This requires flexibility from the designer, comprehension of the production processes and a sense of systems thinking. It also requires close cooperation and information exchange between the brand or, the designer and the manufacturer. However, compared to other textile waste recycling solutions the garments designed from textile waste and leftovers can be manufactured in the existing garment manufacturing sites, utilising existing infrastructure without the need to invest into additional technologies (SEI, 2019 ). This offers a great opportunity for an efficient upcycling of textile waste from manufacturing processes.

This study is a practice-led (Candy, 2006 ; Gam & Banning, 2011 ) research project aimed at gaining a new understanding of the practice of upcycled fashion design and its implementation in the mass production of garments. The study was based on five years of comprehensive field research in four factories in Bangladesh, India and Estonia, where the upcycling design approaches were developed together with an accompanying business model to integrate and implement them.

This practice-led research was completed in two main stages, as illustrated in Fig. 1

Overview of the research stages and methods

Textile and fabric leftover analysis in selected garment manufacturing companies

The results of the detailed textile waste and fabric leftover analysis were formulated based on investigations of two garment manufacturers. The first in Bangladesh, employs around 40,000 workers and produces approximately 240 million garments a year for a few dozen brands. It represents a classical large-scale textile manufacturer and the particularities of production processes of that scale. The other company is in India and employs around 400 workers and represents a typical small garment manufacturer with smaller output and fewer clients. They both service mainly European and Northern American fashion brands.

The textile waste and leftover analyses were carried out via repeated site inspections, interviews with key staff and screenings of Enterprise Resource Planning (ERP) data extracts as well as material and waste inventory data for both studied companies. The main categories of textile waste and fabric leftovers presented in this research are derived from a general classification used in the textile industry (Nayak et al., 2008 ; Ng et al., 1999 ; Saeidi & Wimberley, 2017 ; Townsend & Mills, 2013 ). The types and causes of manufacturing related fabric leftovers and loss generation were also studied in both companies during the waste analysis.

The detailed analysis of fabric leftover and waste generation was based on company ERP data from selected orders that contained vital information, such as amount of fabric used, average marker efficiency, rejected and excess fabric, excess garments, that allowed us to calculate the amount of fabric leftover generated with each order. The generation of different types of fabric leftovers was calculated according to the most common garment categories—T-shirts (jersey), trousers (denim), men’s shirts (woven) and dresses (woven). In each of the two factories, 10 random orders for all four garment categories were analysed. The average order size in the large factory was around 32,000 products and 1500 products in the smaller factory. Based on the analysis of these orders, it was possible to calculate the weighted averages of the share of fabric waste in the main studied categories of leftovers.

Development of upcycled garment design methods

From that waste analysis, the categories of leftovers with the greatest potential for upcycling were identified and then matched with developed design approaches. The applicability and efficiency of upcycling garment designs were tested on each selected fabric leftover category. During the testing, the suitability of the fabric leftovers for upcycling design and mass production was assessed in terms of total available material, as well as size, shape and other parameters. The selected leftover categories with higher potential for upcycling in mass production were used for a series of tests to further develop the suitable upcycling design methods that were documented as case studies.

In those tests the total use potential of that particular leftover category for making new upcycled garments was assessed. Specific types of textile leftovers from the selected orders (5 orders from each tested leftover category) were separated and used for producing new upcycled garments following a developed design method. The total quantity of the particular material that was sent for upcycling was measured as well as the amount of fabric utilisation in the actual upcycling process. The amount of leftover fabric used in upcycling was determined by measuring the surface area (e.g. width and length of roll ends/excess fabric or pattern layout of cut pieces) or weight (rejected panels and overproduced garments). The results of the measuring allowed us to calculate the average percentage of the leftover fabric used to indicate how much of specific leftovers it is possible to use for upcycling new garments.

Results and discussion

Textile waste and leftover generation in the garment manufacturing.

Implementing an upcycling-based garment design and production process requires a good understanding of textile waste and leftover generation in the garment manufacturing process. However, usually this data is not available to designers, and therefore it is difficult to introduce upcycling approaches on an industrial scale. Here we describe the main causes of textile waste with the results of our research on their volumes in the garment industry.

Main causes of textile waste and leftover generation

Textile waste is one by-product of garment manufacturing, and usually it is deemed unusable for its original purpose. Fabric waste and leftovers are generated at various stages of the garment production process and their volumes and causes can differ significantly (Runnel et al. 2017a , 2017b ).

In general, there are three main reasons for fabric leftover generation and fabric loss in the garment manufacturing:

Leftovers due to the technical particularities of production processes (e.g. cutting waste, roll ends, sewing damage and defects)

Problems with quality of fabric (e.g. defective, damaged or unsuitable fabric)

Problems related to manufacturing and resource planning (e.g. excess fabric, order faults or cancellations, over production)

Leftovers from garment production process

Textile waste and leftovers generated during garment manufacturing can be categorised based on technical particularities of the production processes as follows.

Sampling fabric leftovers

Textile leftovers are already generated in the product development stage. During this stage several samples are usually made on which the final production design is decided and the production processes are tested and planned. Typically, part-finished or finished garment samples and textile swatches are considered as factory surplus textile leftovers. However, fabric leftovers and not used samples that are produced during the sampling stage form a very small part of the total generation of textile/garment leftovers.

Fabric leftovers and losses from cutting

Cutting is the major stage among the various processes of garment production where most of the fabric waste/leftovers is generated. The amount of fabric loss in the cutting process depends on many aspects. During the cutting process two main types of fabric losses occur—marking loss and spreading loss (Nayak et al., 2008 ).

Marking loss arises due to the gap and the non-usable areas between the pattern pieces of a marker. Marker efficiency indicates the amount of marking loss. Marker efficiency is commonly affected by fabric characteristics, shapes of pattern pieces, fabric utilisation standards and marker quality. The higher the marker efficiency the higher the fabric usage and smaller the wastage. The area between pattern pieces, which is not used for garment parts, is usually called cut pieces.

The various fabric losses outside the marker can be broadly classified into the following groups (Nayak et al., 2008 ):

Edge loss—occurs due to variable fabric widths. The width of the marker is usually a few centimetres less than the edge-to-edge width of the fabric. This loss on the sides of fabric roll is called edge loss.

End loss—is an allowance left at both ends of a fabric ply in a spread to ease cutting. The end loss should be as small as possible (standard end loss is 2–4 cm, but it could be more depending on the quality of the cutting process). The greater the fabric length the less waste.

End bits and roll ends—during the spreading process, the variation in length of fabric between the fabric rolls as well as roll allocation could result in the generation of significant amount of remnant fabric loss or roll ends in different lengths.

In addition to the abovementioned leftover types, rejected panels could be brought up as a specific type of fabric leftover from the cutting process. Rejected panels are segregated after cutting when defects on the fabric are spotted or mistakes were made during cutting. The most common reason for rejection is defects in the fabric itself and different brands have different quality standards for the number of defects per square metre.

Fabric leftovers and losses from sewing

Fabric leftovers generated during the sewing stage are usually related to sewing damages and defects in the fabric. While some of the defects can be corrected, oil stains from sewing machines, uneven panels or other permanent defects result in rejecting the whole garment. That means the majority of the textile waste involves partial or complete garments that have been separated during quality control. The frequency and therefore the total amount is directly in correlation with the quality of the sewing process of the manufacturer depending on the suitability of the fabric and other materials, the competence of the sewers and the quality of the machinery.

Leftovers related to fabric quality

Whether the fabric is produced in-house (vertically integrated production) or ordered in, it can happen that the fabric has unrepairable faults in it. The following reasons cause the largest amounts of leftover fabric:

Unsuitable fabric—the main reason a fabric already sourced is not used in the production is when it deviates from the initial order. Problems with the specifics of the colour are the most common but also feel and other qualities. Although there is an industry-wide system for colour standards to make sure of the specific colour type, in reality variations occur.

Defective fabric—typical defects during the manufacturing process include back fabric seam impression, birds eye, bowing, broken colour pattern, colour out, colour smears, crease mark, mistakes in drop stitching, dye streak in printing, holes, jerk in, knots, mixed yarn, mottled, needle line, open reed, pin holes, press off and others.

Damaged fabric—damage can occur during storage, treatment or transportation if the proper conditions for humidity, ventilation etc. have not been met. That is also why various chemicals are often applied to deter the growth of fungi.

Leftovers related to manufacturing and resource planning

The garment industry has become a very consumer-driven industry, and this affects the relationship between brands and manufacturers. Manufacturing companies have to compete globally to respond to client demands. They cannot afford to lose time in the production process because this can lead to penalty fees when products aren’t delivered as promised. Buyers can quickly find other companies to replace manufacturers who cannot deliver. As styles are now changing rapidly the brands demand increasingly shorter lead times between ordering and delivery and many of them make increasingly smaller orders that are diffused amongst a number of manufacturers. To keep up with changing trends, manufacturers are pressured to plan and control their manufacturing processes accordingly. This results in manufacturers having to pre-plan and store sufficient supply of fabrics and plan for over-production to minimise delivery risks.

The main reasons a significant volume of fabric can be left unused include the following:

Order faults or cancellation—sometimes the client cancels the order for internal reasons. Although, usually the material cost is fully covered by the client, some of the material can already be produced and ready but will not be used.

Excess fabric—the minimum order quantity (MOQ) for fabric orders can be bigger than a smaller manufacturer will use to complete an order.

Delays—these can occur when ordering or manufacturing the fabric. Contracts are strict and being pushed back even a few days can result in cancellation of the order.

Over-production—the manufacturer has to deliver the products to the customer on an agreed date. The lead time can be as short as 30 days in vertically integrated plants to cater for fast fashion, although it is usually 60 days. An average lead time is 30 days for making fabric and 45 days for producing garments. To avoid under delivering to the client, the risk of possible production errors from all stages are accounted for by planning an extra 3–5% of end produce. This results in over production of ready-made and ready to ship garments. If no mistakes are made during the manufacturing, then the excess production—even though it can be perfect in quality—is usually written off as waste. Sometimes the branding labels are removed from the ready-made garments and sold off to the local market.

Quantity of fabric leftovers from garment manufacturing

The results of the detailed analysis of fabric leftover and waste generation in two typical garment manufacturers—one large and one small—are presented in Table 1 .

The results of the analysis show that there is significantly less fabric loss generated in the large manufacturing company compared to the smaller factory—the total share of leftovers was 24.7% and 39.2% respectively. The biggest difference is in the generation of cutting waste, where the share in the large factory is half that of the smaller factory in all forms—cut pieces from marking loss as well as end-pits and roll ends from spreading loss. The smaller proportion of waste in the large factory can be reasonably explained that they generally operate at a higher level of efficiency, larger orders allow them to better minimise cut waste from routines and fewer alterations. Furthermore, quality control works more diligently in larger factories. Smaller manufacturers have more fabric leftovers because their orders are smaller and the minimum purchase quantity is sometimes bigger than the order, which results in excess fabric.

Using the upcycling method in fashion design

The following section displays examples of selected upcycling design methods that were developed as a result of the leftover analysis and product development. Those designs have been successfully manufactured on actual mass production lines (smaller quantities have also been produced in more flexible facilities to create samples). The design methods are presented here according to the most suitable types of fabric leftovers for upcycling determined within this research:

Design based on cutting leftovers (small cut pieces, end-pits and short roll ends 30 cm to 3 m) and rejected panels

Design based on longer roll ends (3–49 m) and excess fabric

Design based on overproduced garments

Design based on cutting leftovers.

Cutting waste is the most abundant form of fabric leftover in the production process. Due to the small size and various shapes of cut waste its use in designing and producing upcycled garments is the most challenging. To effectively use such material, it is necessary to integrate the upcycling design into the garment production process.

The most difficult pieces to use in upcycling designs are the smaller cuts, which are in essence non-usable areas between the pattern pieces of the marker (so-called marking loss). Their amount and size varies from order to order due to the garment’s design elements and order volume. To get the best use of the material, the panels for an upcycled garment have to be planned into the production and fit the empty spots on the original pattern. Gathering the cut pieces and later cutting them separately is too labour intensive, making it economically and technically unfeasible. Furthermore, cutting everything in one go with the original order is much easier and cheaper as it requires less handling and allows access to the main production lines. Interfering with the original production, however, requires good cooperation with the manufacturer and the brand’s design team, as well as reacting fast when the original order is prepared for production. This means there are two main approaches to using cut leftovers.

The first approach is to design the upcycling product in parallel with the original primary product and its production planning. The pattern is prepared in the factory just before cutting. The details of the pieces for the upcycled garment must be ready by then to be placed into the original marker. The most efficient approach is when the client who orders the initial garment plans their side product into the pattern themselves. The amendments must be swift because the initial order cannot wait for the secondary designs. To be able to upcycle in such a way, an analysis of many patterns over time is required to develop products whose details are suitable to place into the gaps. The details (or some of them) of the design of the upcycled product are integrated into the empty areas in the original pattern and will be cut simultaneously on the cutting table. This makes it possible to maximise pattern efficiency and the use of potential cut waste pieces for the upcycled garment. Those added details will be separated during cutting and the new upcycled garment can be produced in parallel to the original one.

The second approach is to define standard details that can be added to the markers continuously whenever the empty areas between patterns have enough space to fit them. For example, certain triangles fit well between men’s button up shirt patterns to combine into a new garment. At the cutting table those pieces are cut with the rest but separately collected to be later used in the production of certain types of upcycling products.

Cutting waste forms majority of textile waste produced throughout the production of garments, therefore in order to achieve maximum circularity, it is recommended to send cutting leftovers unsuitable to upcycling with the rest of the textile waste to mechanical recycling.

Example 1. Dress made from cutting pieces

One of the most efficient ways to minimise cutting leftovers is to design a product made from similar smaller pieces. That makes it possible to add those details into a marker that is already set up and the product will be cut at the same time. The details will be collected separately from the cutting table and sent for sewing. This method gives the opportunity to save up to 60% of the cutting leftovers, depending on the size of the detail added to marker. The example in Fig. 2 resulted in a 50% reduction in waste material.

Dress made from cutting leftovers (Design: Reet Aus, 2014. Photo: Gabriela Urm, reused with permission)

It is somewhat easier to use the fabric leftovers generated outside the marker during the spreading process—shorter end-pits and roll ends, usually up to 3 m in length. The variability of the length of the pieces does not allow many layers of material to be cut together. Therefore, the most complicated and expensive step in the process is cutting. It has proven reasonable to proceed according to the shortest length of roll ends that in our experience has been 30 cm. This length dictates the size of a panel in a product that allows to use the most fabric. Such panels can be combined into one product that may therefore have several cuts in them.

The most efficient way to use the end-pits and shorter roll ends is to develop special garment designs as standard products that can be continuously made from separately collected fabric leftovers that come from nearly all orders (see Example 2 and 3, Figs. 3 and 4 ). This requires a clear procedure at the manufacturing site, for which leftovers in terms of size, fabric type and other parameters must be separated at the cutting phase for later upcycling.

Upcycled T-shirt designed from end-pits and short roll ends (Design: Reet Aus, 2019. Photo: Krõõt Tarkmeel, reused with permission)

Upcycled dress designed from end-pits and roll ends (Design: Reet Aus, 2019. Photo: Krõõt Tarkmeel, reused with permission)

Example 2 . Upcycled T-shirt

The size of the details of the T-shirt can depend on the size of the available waste pieces. In this example, short roll ends were used. This design has been in production for five years, the amounts and colour variations depend on the fabric available (see Fig. 3 ).

Example 3. Upcycled dress

This dress is another example of a design based on cutting waste—end-pits and short roll ends. The size of the details is driven by the size of the abovementioned waste pieces—here 30 cm long pieces were used. This particular model has been in production for two years in three different colour and fabric combinations.

The generated leftovers—end-pits and short roll ends—can be upcycled up to 80% in both examples. The design of example 3 allows even higher efficiency in using the leftover fabric because the square shape of the pattern makes it possible to use the “zero waste” approach.

It is also possible to use rejected panels in the aforementioned designs. The challenge here is gathering and preserving the material. Cutting is especially challenging, as they are usually smaller than end-pits and shorter roll ends, the amounts are unpredictable and there can be defects in the fabric. Therefore, it is a suitable material to be used in small quantities, garment details, or other non-garment design products. The production from rejected panels is expensive and requires high flexibility.

Design based on long roll ends and excess fabric

The longer roll ends (usually 3–49 m) are the most abundant type of textile waste, and due to their size, it is the most suitable material for making large quantities of upcycled garments. To ensure greater efficiency, roll ends longer than 3 m are instructed to be separated from the smaller ones at the cutting table, put back on a roll and stored separately or sent directly for upcycled garment production. The upcycled design is free of constraints when using larger roll ends, as the size does not determine the cuts. The easiest way to cut the larger roll ends is by creating a 3 m marker and the fabric can be laid out in 3 m layers on top of itself.

Example 4. Upcycled dress

This dress is designed to continue the overall style of the collection that has decorative cuts. This model has been in production for three years and it has been produced in five different fabric combinations. This method made it possible to upcycle 80% of such leftovers (Fig. 5 ).

Upcycled dress designed from large roll ends (Design: Reet Aus. Photo: Krõõt Tarkmees)

Although producers try hard to avoid and reduce the amount of excess fabric it can still happen in significant volumes. The most reasonable solution is to use this excess in the production of other garments. In general, producers try to use such fabric in other orders or try to sell it to other smaller producers to be used in their production. Such fabric leftovers can also be used for making upcycled products, especially if they come in smaller volumes and in a variety of styles that are difficult to find a use for otherwise.

Example 5. Upcycled jeans

These jeans are produced from excess fabric that came from a cancelled order (see Fig. 6 ). Around 600 m has been stored separately for upcycling and the same model is being produced several times a year, 200 units at a time. Using the same fabric ensures consistent quality and can be used to make samples for new upcycled products. Furthermore, in this case up to 80% of the original leftover fabric was upcycled to produce new products.

Upcycled jeans designed from excess fabric (Design: Reet Aus, 2019. Photo: Krõõt Tarkmeel, reused with permission)

The best way to avoid this waste altogether is if brands had more flexibility with their orders. As they are generally good quality garments made according to the specifications of the client, the best solution would be to sell them to the client. However, as this is most often not the practice, it is possible to use the material and upcycle it into new products with a different design. This is a complicated and costly process, as the products will have to be dismantled either partially or fully, create a clever and suitable design, recut the panels and resew them back into a new garment. A production like this is more suitable for a smaller manufacturer or a studio; it is not viable in mass production. However, it would be possible on the sampling lines of a large manufacturer where the production conditions are different and they have greater flexibility.

Example 6. Song Festival upcycled T-shirt

The factory had cancelled an order of 70,000 polo shirts. Those cancelled products were turned into 23,000 new T-shirts produced for the Estonian Song Festival. Because the cutting of the original products had to be done by hand it was a relatively complicated and time consuming process (Fig. 7 ).

T-shirt designed from overproduced garments (Design: Reet Aus 2013. Photo: Kerli Sosi, reused with permission)

Conclusions

Years of practical research in different garment manufacturing units has proven that industrial upcycling is a feasible and viable solution to pre-consumer textile waste. As shown in this research there are different volumes of fabric leftovers generated for different reasons that can be used for the manufacture of new garments using the upcycling design methods. Based on the results of this research, it can be said that depending on the size of the factory the textile waste and fabric leftovers generated in the garment manufacturing process ranges from 25 to 40% of the total fabric used. The results of testing of different upcycling design methods and leftover types show that 50% of that material can be upcycled into new garments and for some types of leftover—mainly spreading loss and excess fabric—it can even be up to 80%.

However, for the successful implementation of upcycling design and production system some requirements have to be fulfilled. Most importantly, the application of the upcycling model requires the initiative from the fashion brands who hold the power to order upcycled garments and therefore to reduce the textile waste and leftovers generation from making their products. The upcycling model also requires a higher level of trust between the brand and the manufacturer. On the other hand, the mutual interest of maximising the use of leftovers leads towards greater openness, exchange of information and long term cooperation that is a win–win solution to all involved. The manufacturers can form a long-term partnership with the brand it produces garments for and the brand, in turn, can get more out of their fabric if the manufacturer will also produce an upcycled collection from the fabric waste.

To be able to implement upcycling design methods the designers need to understand the types of leftovers generated and the reasons why this happens. Fabric leftovers and waste are generated because of technical aspects of the production processes, manufacturing and resource planning and quality issues. Cooperation between brands/designers and the manufacturer is crucial to understand the particularities of the material and to be able to design for it. For the efficiency of upcycling it is necessary to integrate the upcycling design into the garment production process, especially when working with cut leftovers.

The results of this research show that upcycling is a good opportunity to find the highest value for textile waste with relatively low cost by leveraging the existing capabilities and capacity of textile manufacturers. Upcycling pre-consumer waste makes it possible to work with homogenous and predictable material streams to manufacture the same upcycled garment designs in large quantities. Large amount of textile waste and leftovers can be redirected back into the production and upcycled into new garments in-house while greatly increasing the overall circularity of the sector.

Availability of data and materials

The datasets generated and analysed during the current study are available from the corresponding author on reasonable request. The detailed data that supports the waste generation calculation (sample orders of two manufacturing companies) is not publicly available due to commercial restrictions.

Abbreviations

Enterprise Resource Planning—a multi-module software application to manage business processes. It keeps a record of the resources and raw materials used and ordered as well as keeping track of the data related to finances, production, sales, etc

European Union

Minimum Order Quantity

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Teli, M. D., Kadu, K., Valia, S., & Dahale, M. (2015) Upcycling of textile materials. Conference: Global Textile Congress, Bangkok. https://www.researchgate.net/publication/316922048_Upcycling_of_Textile_Materials

Townsend, K., & Mills, F. (2013). Mastering zero: how the pursuit of less waste leads to more creative pattern cutting. International Journal of Fashion Design, Technology and Education, 6 (2), 104–111. https://doi.org/10.1080/17543266.2013.793746

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Acknowledgements

The authors would like to sincerely thank the representatives of manufacturing

companies for their support during the waste analysis and testing the design methods.

Publishing of the paper was supported by the Sustainable Design Lab, Estonian Academy of Arts, Estonia.

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Reet Aus, Markus Vihma & Reimo Unt

Stockholm Environment Institute Tallinn Centre, Erika 14, 10416, Tallinn, Estonia

Harri Moora

AusDesign Llc, Telliskivi 62, 10412, Tallinn, Estonia

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Mandala Apparels, A-24&25, 9Th Cross Pipdic Industrial Estate, Mettupalayam, Pondicherry, 60500, India

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RA and HM originated the research idea. HM developed the first draft of the manuscript, and all authors contributed to further writing, editing and review. MV helped with interpretation of study results. RA developed and tested the upcycling design methods. MV, RU, MK and SK with the guidance of HM conducted the textile waste and fabric leftover analysis. All authors read and approved the final manuscript.

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Reet Aus: Researcher and lecturer (PhD) in Sustainable Design at Estonian Academy of Arts, Estonia. Harri Moora: Senior Researcher and Programme Director (PhD) at Stockholm Environment, Institute Tallinn Centre, Estonia. Markus Vihma: PhD researcher and lecturer at Estonian Academy of Arts, Estonia. Reimo Unt: Product designer and master’s student at the Estonian Academy of Arts, Estonia. Marko Kiisa: CEO of AusDesign Llc overseeing the business model development and supply chain management, Estonia. Sneha Kapur: Sustainability manager in Mandala Apparels Ltd., India.

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Aus, R., Moora, H., Vihma, M. et al. Designing for circular fashion: integrating upcycling into conventional garment manufacturing processes. Fash Text 8 , 34 (2021). https://doi.org/10.1186/s40691-021-00262-9

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Architecture + Fashion: A study of the connection between both worlds

Abstract The social need for expression in this new age especially in the field of architecture has seen some recent development; although architecture and fashion seem to be independent of one other, architecture deals with the constructed environment while fashion is the motivating factor behind the dress making business . It has been discovered that fashion is a robust way of expressing one’s culture and identity. A study of the connection between fashion and architecture would be investigated in this research thereby a number of points would be drawn out linking both fashion and architecture together in this post-modern era. This research will create new ways for this method in design. Through the study on deconstruction of modern architecture it is important to test its dominant effect over modern-day architecture. An argument would be established from the research based onto what extent the relationship between fashion and architecture has affected each other and in what kind of pathways has the effects benefitted the users Studying precedent literatures on topics of modernism, a number of views would be looked into and a case study analysis would be carried out to finalise the methodology. Architecture and fashion developments would be studied and compared with modern day architecture so as to suggest areas for commendation of this proposed method of design.

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Baher Ismail farahat

Baher Ismail Farahat Beirut Arab University – Beirut – Lebanon ABSTRACT This research describes the nature of the relationship between fashion and architectural design. The most logical relationship is that both fashion and architecture provides a shelter for people in different social dimensions. Both fields passed through several era were design transits from the complexity to the modernity and simplicity of design. On the other hand, there are many similarities in materials characteristics although both fields use totally different martial on different scale. In addition, there are many examples that show the effect of one field on the other one. Many architects are inspired by a garment to design a building and it is the same in the other way round. So this study explores if these two fields have any effect on each other. so how these effects are reflected at the end.

Tekstilna industrija

Ruzica Stevkovska Stojanovska

This paper describes and state the relationship between architecture and fashion, as both disciplines respond to the culture and environment of individuals and societies. Very often fashion designers were inspired by architecture, but also architects were inspired from the fashion creations. Very often, designers in their fashion pieces reflect the architectural constructions. The aim of this work is architecture, an art that, like fashion, is the fruit of creativity. More precise, the architecture is used as inspiration for creating two fashion models. The basic construction of a dress is used and then with use of modeling, the pattern pieces are created. With these models women's fashion is bring closer to and shows the connection with architecture. At the end we get the conclusion that both, the fashion and architecture, in the past and in the future, remain two arts that are connected through creativity, inspiration, technology and human imagination.

Iyadunni Dada

PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND (SAHANZ) VOLUME 37

Sanja Rodeš

The paper investigates the collaboration between Office for Metropolitan Architecture (OMA) and fashion brand Prada on a number of projects dating from the beginning of the twenty-first century to the present moment. More precisely, it examines the relationship between one of the most influential architectural firms (and one of the most influential architects – Rem Koolhaas) with fashion industry, consumption, branding and image making. The paper argues that the collaboration between OMA and Prada, evidences the relevance of the growing relationship between architecture, fashion branding and consumption. The collaboration between OMA and Prada can be argued as prolific, as it resulted with lasting collaboration, multiple retail spaces – so called Prada ‘epicentres’– a number of publications, and more. Koolhaas has done an extensive research on shopping at Harvard School of Design, which resulted with publication Project on the City II: The Harvard Design School Guide to Shopping (2001), and this research was further brought into his collaboration with Prada. Considering that AMO (a research and design studio of OMA) was involved with the designs of Prada catwalks, Prada lookbook, website and more, AMO and OMA can also be considered to be the image givers to Prada in the twenty-first century.The paper aims to critically interrogate the intersections of fashion, branding, consumption, image and architecture as evidenced in this particular collaboration, also evoking the historical intersections between architecture, image and fashion. Aiming to also briefly trace the development of relationships between architecture, image and fashion from modernism to present moment, the paper argues that these relationships can be productive for architectural discipline. It sees these relationships as both more complex and more relevant than acknowledged by architectural discourses, and aims to extend the considerations of their relationships.

Civil Engineering Journal (CivileJournal.org)

Throughout history, fashion and architecture have repeated each other in terms of form and appearance. It seems quite natural that they share not only their initial function, which is to provide shelter and protect human; but also show skills in creating space and volume beyond the two-dimensional plates and materials. In recent years, the relationship between clothing design and architecture has become more significant. Computer tools and software have changed the borders of designing each one. Buildings are more fluid and clothes are more architectural. The architectural alphabet in fashion from one hand, and on the other hand the fashion ideas and methods used in architecture as well as experiencing similar themes in both domains are among the features of these arts. The exploitation of such common points among the two areas challenges the conventional ideas and pre-defined concepts of design, putting forward new solutions and experiences for designers. In this research, some of these common ideas have been studied and how these ideas are linked within both of these domains. The method of this research is descriptive and analytical; and data are collected from documents and research materials including books, articles, photos and electronic resources. This research seeks the common ideas in architecture and fashion and their mutual interaction with each other and provides some examples in both arts. The results of this research show that architecture has an effective role in shaping fashion and the attitude to the clothing design.

Giovanni Marini

Italian Style: on Law, Architecture and Design “Made in Italy” Giovanni Marini, Università degli Studi di Perugia Italian design, including interior design, urban design, fashion design and architectural design is recognized as being worldwide trendsetter. Italy today still exerts a vast influence worldwide. There were different trends in the 20s: a classical and a new one (“Rationalist”). After WWII, Italy had a true avant-guard moment. “When intellectuals lost their battle in 1948 and with it any chance to change land law and re-organize society, architects turned their attention to the object, the object conveyed meaning and showed direction.” In the 60s and 70s, Italian interior design reached its pinnacle (“Bel Design and Linea Italiana”). In MoMA New York, Emilio Ambasz organized an exhibit Italy, The New Domestic Landscape Achievements and Problems of Italian Design. In 1968, it developed an interesting trend (“radical design”) which opposed to the product design and mainstream “buon gusto.” The MoMA exhibit was also the end of Italian polycentric design, which focuses mainly on furniture (Italian) design. Modern interior design has changed the meaning of style and elegance, and many interior designers use Italian or Italian-inspired style in their work. The essay will analyze the birth and developments of the Italian style and its relationship to architectural trends in the globalization process, and with the ongoing transformation of capitalism and economic system. Fashion Made in Italy: Tradition, Protection and a Look into a Sustainable Future Barbara Pozzo, Università degli Studi dell’Insubria, Como The essay focuses on fashion and will cover five distinct areas. First, the measures that the Italian government has launched in recent years to protect “traditional Italian brands.” Second, the various initiatives of certification and labeling in order to protect “made in Italy” fashion products. Third, the “made in Italy” label and the enormous problem of counterfeiting. Fourth, the use of Blockchain as a strategy for the protection of “made in Italy” products. Fifth, how sustainability is, or should become, a part of the “made in Italy” paradigm. Culturally Identifiable Fashion: what role for GI’s? Janewa Osei-Tutu, Florida International University College of Law Geographical indications (GI’s) are a specialized form of intellectual property right. A GI is used when some quality, characteristic, or reputation of a good is attributable to its geographic origin. To the extent that geographic location and culture overlap, GI’s could be described as a form of cultural protection. Italy, which is known for both its food and fashion, has GI’s for a range of items, such as extra virgin olive oils, pastas, and wines. But, what is the role of GI’s when it comes to other aspects of culture, such as fashion? For example, the famous Italian designer, Valentino, received both praise and criticism for footwear modeled on royal sandals from Ghana. To what extent can GI’s be used as a form of cultural protection that extends beyond food and wines to protect culturally identifiable fashion items

Athina Koniari

International Journal of Fashion Studies

Agata Zborowska

One of the most important phenomena in fashion, which practically forced the researchers to rethink their former language, is deconstruction. Appearing almost in parallel with deconstruction in architecture it uncovered previously unseen fissure in the discourse used in constructing the object of research. Deconstruction is usually described as one of the many fast-changing trends in fashion, but fashion scholars rarely pay attention to the sources or consequences of this trend. This study constitutes an attempt to develop such a historical and theoretical take on deconstruction in fashion, to analyse its descriptions and conceptualizations. For this purpose, the author reconstructs the sources of this phenomenon in fashion, with particular attention being paid to two fashion houses: Maison Martin Margiela and Comme des Garcons. To situate deconstruction in a broader context, the article refers to this term in the philosophy as well as the architecture and the graphic design. The last part of the article is devoted to alternative theoretical perspectives – the conceptions of Michel de Certeau and John Fiske – which are used to look again at deconstruction in the context of youth subcultures and its importance in the contemporary fashion system.

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Essay on Fashion for Students and Children

500+ words essay on fashion.

Fashion refers to anything that becomes a rage among the masses. Fashion is a popular aesthetic expression. Most Noteworthy, it is something that is in vogue. Fashion appears in clothing, footwear, accessories, makeup, hairstyles, lifestyle, and body proportions. Furthermore, Fashion is an industry-supported expression. In the contemporary world, people take fashion very seriously. Fashion is something that has permeated every aspect of human culture.

History of Fashion

The origin of Fashion is from the year 1826. Probably everyone believes Charles Frederick to be the first fashion designer of the world. He also established the first Fashion house in Paris. Consequently, he began the tradition of Fashion houses. Furthermore, he gave advice to customers on what clothing would suit them. He was prominent form 1826 to 1895.

During this period, many design houses hired artists. Furthermore, the job of these artists was to develop innovative designs for garments. The clients would examine many different patterns. Then they would pick the one they like. Consequently, a tradition began of presenting patterns to customers and then stitching them.

At the beginning of the 20th century, new developments in Fashion took place. These developments certainly began in Paris first. Then they spread in other parts of the world. Consequently, new designs first came into existence in France. From Paris, they went to other parts of the world. Hence, Paris became the Fashion capital of the world. Also, Fashion in this era was ‘haute couture’. This Fashion design was exclusively for individuals.

In the mid-20th century, a change took place. Now Fashion garments underwent mass production. There was a significant increase in the rate of production of Fashion garments. As a result, more and more people became involved with Fashion garments. By the end of the 20th century, a sense of Fashion awareness was very strong. Now people began to choose clothes based on their own style preference. Hence, people began to create their own trends instead of relying on existing trends.

Get the huge list of more than 500 Essay Topics and Ideas

Fashion Trend

Political influences certainly play a major role in influencing Fashion. Many politicians become fashion symbols. Notable examples are First Lady Jacqueline Kennedy and Princess Diana. Also, political revolutions make a huge impact on the Fashion trend. For example, in 1960’s America, liberal clothing styles became popular among the younger generation. This was due to the Liberal revolution.

Another significant factor which influences Fashion trend is technology. There certainly has been a rapid growth of technology in the Fashion industry. For example, wearable technology has become a popular Fashion trend. Furthermore, 3D printing technology and the internet have also made an impact on Fashion.

Social influences are probably the strongest influences on the Fashion trend. Many music stars strongly influence Fashion choice. For example, wearing hoodies became famous due to rap musicians. Furthermore, movie and television actors create a big impact on Fashion. Many youngsters love to emulate the Fashion sense of their favourite celebrity.

To sum it up, Fashion certainly has become a part and parcel of human life. It certainly is a force that is here to stay. Most noteworthy, Fashion has immersed every place on Earth.

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Sustainable Fashion Has Lost Its Meaning. Here’s How We Change That.

By Alyssa Hardy

people on a street with sale signs behind them

Whenever sustainable fashion comes up, the first question is: Where and how do people shop if they want to avoid fast fashion ? And while I have an answer to that (some brands are prioritizing the rights of their workers , lowering the amount of clothing they produce, and innovating on materials that rely less on fossil fuels) , the solution won’t be found by shopping.

Buying better, while a good step, can’t get us out of the climate crisis that fashion has significantly contributed to. Right now, the industry is estimated to make up around 3 to 5% of global carbon emissions, according to a 2023 report by McKinsey & Company. Clothing waste is growing at a rapid rate as production and the use of fossil fuel-based materials like polyester increases . In 2018, the United States estimated 17 million tons of textiles were discarded , much of which ends up in landfills or is shipped to the global south where it overwhelms communities. The workforce producing these textiles, which is made up of around 75 million garment workers worldwide , the majority of them women, are paid wages often as low as $113 a month.

In our consumer-focused culture, we often feel the need to buy our way out of a problem – and that’s a need that fast fashion brands have easily filled. Greenwashing has made it so that small changes by a brand, like switching to recycled polyester or organic cotton, supersede the fact that the amount of clothing produced is still growing, the amount of textile waste is increasing, and workers' wages and conditions are worsening. These small but insignificant changes are marketed (especially around Earth Day) as ways we can buy new, more apparently sustainable clothing, meaning we don’t need to feel bad about our continued overconsumption. The idea is to sell us on sustainability, not to actually practice it — because practicing it would mean buying radically less clothing.

That’s why we need to reframe the idea of sustainable fashion entirely. It needs to be a call to action and not a shopping guide.

Everyone changing their buying habits is, of course, ideal but that is a battle we’ll be fighting for a very long time, one that will require a massive cultural shift. We need a change in fashion now if we want to mitigate the damage that’s been done.

So if we shifted the idea of participating in sustainable fashion from being someone who wears the “right” thing to someone who prioritizes workers, climate-focused industry initiatives, and community, then maybe we could get somewhere. Here are a few examples: Legislation and attempts to regulate the way the fashion industry operates are popping up around the world. In Europe, there are a host of regulations and proposals aimed at greenwashing , overproduction , and even penalizing buying fast fashion. In the United States, there are bills tackling wages , emissions , and waste. All of these you can support through a phone call or a letter.

There are worker movements and strikes that go unnoticed. While some brands are selling women’s empowermen t, the women who make the clothing are in the streets asking for better working conditions. We could amplify those stories through social media. There are advocacy groups that run awareness campaigns to push brands to regulate the amount of clothing they produce.

Outside of action, you can think of sustainability as a learning opportunity. You could mend your clothing and learn to sew or knit. You can read books about fashion (and not just those about sustainability). You could look at shopping as a way to reflect your personal style instead of a constant pursuit of trends and the next big thing.

And sure, there are ways to shop better that absolutely have an impact. Buying second-hand or recycled and extending the life of clothing is a way to keep it out of landfills, which is, no doubt, a good option. There are also great brands to shop. But to move forward, we need to realize that sustainable fashion has lost its meaning and it’s up to us to rewrite it.

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