#Journal of Textile science and Fashion Technology

[bicartsvaranasi]

Unlock Your Creative Potential: Fashion Designing Courses in Varanasi at BICA Institute

 Are you passionate about fashion and dreaming of a career that blends creativity with innovation? Look no further! BICA Institute in Varanasi offers comprehensive Fashion Designing Courses that equip aspiring designers with the skills and knowledge needed to thrive in the dynamic world of fashion.

Why Choose BICA Institute?

Expert Faculty: Learn from industry professionals with years of experience. Our faculty members bring a wealth of knowledge, guiding you through the intricacies of fashion design, from sketching to garment construction.

Practical Learning: At BICA, we believe in learning by doing. Our curriculum emphasizes hands-on training, ensuring you gain practical skills alongside theoretical knowledge. Work on real-life projects and develop a portfolio that showcases your talent.

State-of-the-Art Facilities: Our institute is equipped with modern facilities, including design studios, sewing labs, and fashion libraries. You’ll have access to the latest tools and technologies to help you refine your craft.

Industry Exposure: Gain insights into the fashion industry through workshops, guest lectures, and internships. Connect with industry leaders and explore various avenues within fashion, from retail to fashion journalism.

Diverse Course Options: Whether you’re a beginner or looking to enhance your skills, BICA offers a range of courses tailored to different levels. From diploma courses to advanced programs, you can choose the path that suits your aspirations.

What You Will Learn

Fashion Illustration: Develop your ability to visually communicate your design ideas through sketching and digital tools.

Textile Science: Understand the properties of different fabrics and how to select the right materials for your designs.

Garment Construction: Master the techniques of sewing and garment making, transforming your ideas into tangible creations.

Trend Analysis: Learn to identify and analyze fashion trends, enabling you to create designs that resonate with contemporary audiences.

Brand Development: Explore how to build your own fashion brand, from concept to marketing strategies.

A Pathway to Success

The fashion industry is ever-evolving, and with the right education, you can be at the forefront of this exciting field. Our graduates have gone on to work with top brands, launch their own labels, and make significant contributions to the fashion world.

Enroll Today!

Take the first step toward a fulfilling career in fashion design. Enroll in the Fashion Designing Courses at BICA Institute in Varanasi and unleash your creativity. For more information, visit our website or contact us directly. Your future in fashion awaits!

Conclusion

Whether you envision a career as a fashion designer, stylist, or entrepreneur, BICA Institute provides the perfect platform to turn your dreams into reality. Join us and be part of Varanasi’s vibrant fashion community. Your journey starts here!

[crimsonpublishersfashion]

Active Sportswear Fabrics- Crimson Publishers

Active Sportswear Fabrics- Crimson Publishers

In recent years, innovation in active sportswear has been progressing to perform high functions and to gain comfort. Therefore, sportswear industries keep their attention on market diversification for fibrous materials and on textile science and technology. The use of innovative textile science and technology in the manufacturing of sports and leisurewear fabrics is continuously improving day by day to enhance the requirements for sports activities for their better performance in the sports. The factors consider for developing active sportswear fabrics are polymer and fiber technology, fabric and yarn production techniques, and finishing techniques to obtain high performance fiber, modified structure of yarns and fabrics. The present paper is concerned with the review of fiber types and their properties, fabric types and properties and works done in development of comfort properties of sportswear.

For more open access journals in crimson publishers Please click on link: https://crimsonpublishers.com

For more articles on Trends in Textile Engineering & Fashion Technology Please click on link:

[insdpcmc-24]

Exploring Creative Horizons: Design Courses, Fashion Communication Courses, and Textile Design Degrees

In the ever-evolving landscape of design, specialized education plays a crucial role in nurturing talent and guiding creative professionals toward successful careers. Among the diverse educational pathways available, design courses, fashion communication courses, and textile design degrees stand out for their comprehensive curricula and hands-on training. These programs are designed to equip students with the skills and knowledge needed to excel in their respective fields, blending creativity with technical expertise.

Design Courses

Design courses encompass a wide range of disciplines, from graphic design and industrial design to interior design and product design. These programs focus on developing a strong foundation in design principles, aesthetics, and technical skills. Students learn to think critically, solve problems creatively, and communicate their ideas effectively through various mediums. The curriculum often includes projects, internships, and collaborations with industry professionals, providing practical experience and exposure to real-world challenges. Graduates of design courses are well-prepared for careers in diverse sectors, including advertising, product development, architecture, and digital media, where they can apply their innovative thinking and technical skills to create impactful designs.

Fashion Communication Courses

Fashion communication courses are tailored for individuals passionate about the intersection of fashion, media, and branding. These programs cover a broad spectrum of topics, including fashion journalism, visual merchandising, public relations, digital marketing, and styling. Students learn to craft compelling fashion narratives, develop branding strategies, and create visually appealing content for various platforms. Through hands-on projects, internships, and industry collaborations, they gain practical experience and insights into the dynamic world of fashion communication. Graduates of fashion communication courses can pursue careers as fashion stylists, brand managers, fashion journalists, or digital content creators, playing a pivotal role in shaping the visual and narrative aspects of the fashion industry.

Textile Design Degree

A textile design degree offers an in-depth exploration of the art and science of creating fabrics and textiles. This program covers a wide range of subjects, including fabric construction, surface design, dyeing and printing techniques, textile technology, and sustainable practices. Students develop their creative skills and technical expertise, learning to create unique textile patterns and innovative fabric solutions. The curriculum often includes laboratory work, industry projects, and collaborations with textile manufacturers, providing hands-on experience and industry exposure. Graduates with a textile design degree can pursue careers as textile designers, fabric developers, trend analysts, or sustainability consultants, contributing to the fashion, interior design, and home furnishings industries with their innovative and sustainable textile solutions.

Choosing the right educational path depends on individual interests, career goals, and the specific skills one wishes to acquire. Whether it’s mastering design principles, crafting compelling fashion stories, or innovating in textile creation, these programs offer valuable opportunities to develop and showcase one’s creative talents. Each program provides a unique blend of theoretical knowledge and practical experience, preparing students to thrive in the dynamic and ever-evolving world of design.

[kashishchauhan571]

fashion design institute in dehradun

Fashion Design Institute at Dev Bhoomi Uttarakhand University in Dehradun

Introduction

Dev Bhoomi Uttarakhand University (DBUU) in Dehradun is a renowned educational institution that offers a variety of programs aimed at fostering talent and providing high-quality education. Among its numerous departments, the Fashion Design Institute stands out as a premier choice for aspiring fashion designers. This institute offers a comprehensive curriculum designed to equip students with the skills and knowledge necessary to excel in the dynamic world of fashion.

Program Overview

The Fashion Design Institute at DBUU provides a well-rounded education that covers all aspects of fashion design. The curriculum includes courses in garment construction, textile science, fashion illustration, computer-aided design (CAD), fashion marketing, and business management. These courses are designed to ensure that students not only learn the creative aspects of fashion design but also understand the business and technological sides of the industry.

State-of-the-Art Facilities

The institute boasts state-of-the-art facilities, including modern design studios, sewing labs, and computer labs equipped with the latest design software. These facilities provide students with the tools they need to bring their creative visions to life. Additionally, the institute has a well-stocked library with a vast collection of books, journals, and digital resources on fashion and design.

Experienced Faculty

The faculty at the Fashion Design Institute consists of experienced professionals from the fashion industry and academia. These instructors bring a wealth of knowledge and real-world experience to the classroom, ensuring that students receive a practical and relevant education. The faculty is dedicated to mentoring students and helping them develop their unique design aesthetic.

Industry Connections and Opportunities

One of the significant advantages of studying at the Fashion Design Institute at DBUU is its strong connections with the fashion industry. The institute regularly organizes workshops, seminars, and guest lectures by industry experts. These events provide students with insights into the latest trends and practices in the fashion world. Moreover, the institute has partnerships with leading fashion brands and designers, offering students opportunities for internships and collaborative projects.

Focus on Creativity and Innovation

The Fashion Design Institute encourages creativity and innovation among its students. The curriculum is designed to foster originality and out-of-the-box thinking. Students are given the freedom to explore their creative ideas and are provided with the guidance to refine and execute them. Annual fashion shows and exhibitions organized by the institute offer students a platform to showcase their work to a broader audience.

Career Prospects

Graduates from the Fashion Design Institute at DBUU have a wide range of career options available to them. They can pursue careers as fashion designers, textile designers, fashion illustrators, stylists, fashion merchandisers, and fashion entrepreneurs. The institute’s strong industry connections and focus on practical experience ensure that students are well-prepared to enter the competitive fashion industry.

Conclusion

The Fashion Design Institute at Dev Bhoomi Uttarakhand University in Dehradun provides a comprehensive and dynamic education in fashion design. With its experienced faculty, state-of-the-art facilities, industry connections, and focus on creativity, the institute is an excellent choice for aspiring fashion designers. Students at the institute receive the training and support they need to succeed in the ever-evolving world of fashion

[marcuswong99]

Week 7: Slow Fashion

The slow fashion movement and digital citizenship share values of sustainability, ethical consumption, and responsible fashion industry engagement. The slow fashion movement relies on digital citizenship to educate customers, engage communities, and promote ethical and sustainable fashion in the digital age. People may promote a sustainable and fair fashion business by using digital platforms and learning digital literacy. This means prioritizing people and the environment over profit. Slow fashion promotes sustainability, ethical manufacturing, and mindful consumerism. Slow fashion incorporates concepts such as using greener fibers, utilizing technology to reduce waste and pollution, or taking into account the movement of the product through the supply chain (Pookulangara & Shephard 2013) ,unlike fast fashion, which emphasizes speedy production, cheap labor, and disposable apparel. The fast fashion industry's focus on speed, cheap, and mass production had detrimental social, environmental, and ethical effects, prompting the slow fashion movement. Traditional craftsmanship, sustainability, and ethical consumption underpin the late 20th and early 21st century slow fashion movement. As consumers, designers, and industry stakeholders stress sustainability, ethics, and social responsibility in clothes, the slow fashion movement is rising. Slow fashion aims to maintain ecological, social, and cultural diversity and encourages diverse and innovative business models, such as independent designers, second-hand, vintage, recycling, fashion leasing, local knitting clubs, clothing swaps, and traditional methods of garment and textile making (Ozdamar Ertekin & Atik 2014).Slow fashion encourages ethical purchasing, manufacturing, and environmental protection. It suggests a way to mitigate the negative effects of fast fashion and promote a more sustainable and equitable fashion business. The fashion industry contributes to global employment, commerce, and economic growth across numerous industries. Fashion drives worldwide trade, employment, and consumer culture, making it vital to the global economy. To address the fashion industry's economic, environmental, and social issues, governments, firms, consumers, and other stakeholders must work together to promote sustainable and responsible practices that benefit the industry and society. All stages of the fashion supply chain—raw material extraction, garment fabrication, distribution, and disposal—impact the environment. Fashion firms, manufacturers, retailers, customers, policymakers, and civil society organizations must work together to reduce the fashion industry's environmental effect. Promoting circular economy models, reducing resource consumption and waste, using eco-friendly materials and production methods, improving supply chain transparency and traceability, and encouraging responsible consumption and conscious fashion choices are effective sustainability strategies. The fashion industry may reduce its environmental impact and support a more sustainable and resilient future for people and the world by adopting sustainability principles and environmental stewardship programs.

References

Ozdamar Ertekin, Z & Atik, D 2014, “Sustainable Markets,” SageJOURNALS, accessed May 20, 2024, <https://journals.sagepub.com/doi/full/10.1177/0276146714535932>.

Pookulangara, S & Shephard, A 2013, “Slow fashion movement: Understanding consumer perceptions—An exploratory study,” Journal of retailing and consumer services, accessed <https://www.sciencedirect.com/science/article/abs/pii/S0969698912001506?via%3Dihub>.

[nghiazet]

WEEK 6: SLOW FASHION MOVEMENT

What is Slow-Fashion?

Currently, the fashion industry is rife with inconsistencies. Individuals claim to be interested in sustainability but nevertheless gravitate towards rapid and affordable clothes (Johansson, 2010).

An increasing number of customers are participating in the trend of 'ethical consumerism,' where they insist that the products they purchase be manufactured in a manner that does not negatively impact the environment or the laborers involved in the production process. Research has shown that customers are often prepared to pay a higher price for environmentally friendly items or commodities produced without exploiting labor (Gam et al., 2009; Kahn, 2009; Pookulangara et al., 2011), which is considered as "slow fashion".

Where does this movement come from?

The emerging "Slow Fashion" movement is inspired by the well-known "slow food" movement, which focuses on supporting small, local farmers and promoting the use of local, seasonal foods, in addition to stressing slow cooking techniques (Kahn, 2009). Slow fashion is a philosophy that focuses on being attentive to the needs of designers, buyers, retailers, and consumers, as well as the impact that fashion production has on workers, consumers, and ecosystems (Fletcher, 2008).

The slow fashion idea emphasizes sustainability in the fashion industry by focusing on high quality, small-scale manufacturing, regional sourcing, and ethical labor practices. One of the most iconic brand named "Patagonia", made its name in the community for its sustainability efforts, such as using recycled materials, minimizing water use, and advocating for fair work. The firm has introduced a program called Worn Wear, which promotes repairing and reusing Patagonia goods instead of purchasing new ones.

Patagonia has contributed significant funds to environmental organizations and launched programs to increase awareness of climate change and biodiversity loss. Therefore, sustainability is becoming a central focus for the garment sector, influencing strategy, operations, employee involvement, and relationships with customers and communities (Siegel et al., 2012).

Reference:

Johansson, E., 2010. Slow Fashion—An Answer for a Sustainable Fashion Industry? (Master’s thesis, The Swedish School of Textiles, University of Boras, Bor ˚ as, ˚ Sweden). Retrieved from /http://bada.hb.se/bitstream/2320/6776/1/2010.9. 15.pdfS.

Gam, H.J., Cao, H., Farr, C., Heine, L., 2009. C2CAD: a sustainable apparel design and production model. International Journal of Clothing Science and Technology 21 (4), 166–179, http://dx.doi.org/10.1108/90556220910959954.

Kahn, J., 2009. Luxury-goods Makers Embrace Sustainability. New York Times. Retrieved on November 4, 2010 from: /http://www.nytimes.com/2009/03/27/business/worldbusiness/27iht-sustain.html?_r=2&scp=4&sq=sustainable% 20luxury&st=cseS.

Fletcher, K., 2008. Sustainable Fashion and Textiles: Design Journeys. Earthscan, London and Sterling, VA.

Siegel, A., Burnside, M., Kester, C., Howes, T., & Robertson, K., 2012. Retail Sustainability Report: Successes, Challenges, and a Vision for the Future. Retail Industry Leaders Association. Retrieved on September 22, 2012 from /http:// www.rila.org/sustainability/sustreport/sustainability-report-landing-page/Documents/RetailSustainabilityReport.pdfS.

[jdinstitutefashionm]

"Mastering Style and Strategy   :   Unveiling the Essence of a PG Diploma in Fashion Design and Management"

Introduction

Fashion has evolved into a dynamic and competitive industry, demanding a fusion of creative flair and business acumen. Aspiring individuals keen on making their mark in this field often seek structured education, and a pg diploma in fashion design and Management  stands as a pivotal option. This comprehensive program provides a gateway to a realm where style meets strategy, offering a blend of theoretical knowledge and practical experience.

PG Diploma in Fashion Design and Management

Fashion design education is crucial for aspiring designers and industry enthusiasts to grasp the fundamentals of design, production, and management within the fashion landscape. A PG Diploma program in this domain serves as an intensive course, equipping students with skills necessary to thrive in the ever-evolving fashion industry.

Curriculum Structure

These programs generally encompass a broad spectrum of subjects ranging from design principles to marketing strategies. Core subjects delve into design techniques, garment construction, textile science, while elective courses may include trend forecasting, retail management, and digital fashion.

Career Prospects

Upon completion, graduates are poised for diverse career avenues, including fashion designing, merchandising, retail management, fashion journalism, and more. The fashion industry's constant demand for innovation and style ensures a myriad of opportunities for skilled professionals.

Skills Developed

The program not only hones creativity but also fosters leadership, management, and marketing skills. It nurtures a holistic approach towards fashion, instilling a blend of artistry and business acumen in individuals.

Admission Process

Aspiring students typically need a background in design or a related field. Eligibility criteria may vary across institutions, but a passion for fashion coupled with a creative portfolio often plays a pivotal role in the selection process.

Notable Institutions Offering the Program

Several esteemed universities and institutes globally provide these programs, each with unique features, industry connections, and faculty expertise.

Industry Connections and Internships

Hands-on experience through internships and collaborations with fashion houses during the pg diploma in fashion design and Management  is integral. These opportunities provide exposure and understanding of industry dynamics.

Challenges and Opportunities in the Fashion Industry

The program equips students to navigate challenges like fast-changing trends and market demands, fostering innovation and adaptation.

Student Testimonials

Alumni testimonials often highlight how the program shaped their careers, emphasizing the practical skills gained and industry insights acquired.

Advantages of Pursuing a PG Diploma in Fashion Design and Management

This pg diploma in fashion design and Management  not only nurtures creativity but also provides a versatile skill set, making graduates adaptable to various roles within the fashion sector.

Costs and Scholarships

Tuition fees for such programs vary, but institutions may offer scholarships or financial aid, making it accessible to deserving candidates.

Future Trends in Fashion Education

Technological advancements and sustainable practices are increasingly becoming integral parts of fashion education, pg diploma in fashion design and Management  shaping the future of the industry.

Impact of the Program on Personal Growth

Apart from professional skills, the program fosters personal growth, encouraging students to develop their unique style and vision.

Networking and Industry Exposure

The program facilitates interactions with industry experts and exposes students to fashion events and conferences, fostering networking opportunities.

Conclusion

A pg diploma in fashion design and Management opens doors to a world of opportunities, blending creativity with managerial prowess, preparing individuals for a thriving career in the ever-evolving fashion landscape.

[irispublishersfashion]

Iris Publishers_Journal of Textile Science & Fashion Technology (JTSFT)

Becoming the King’s Men – the Semiotic Molecule of Luxury Brand Heritage

Authored by Jan CL König

Abstract

In a spontaneous comparison, one might come to the conclusion that Savile Row shops sell real luxury, while on New Bond Street they simply sell expensive products. This conclusion includes reasons that can be understood by analyzing a typical traditional bespoke tailor shop with semiotic approaches. In our analysis, we applied Charles Peirce’s semiotic trichotomies to classify the signs of brand heritage, focusing on presented brand identities that appear in a structured construct that we call the molecule of the brand. Hence, the analysis leads to conclusions regarding what kind of signs produce a unique brand identity and how they refer to this identity concretely. Our findings offer a precise determination and evaluation of a luxury brand’s heritage management and presentation as well as a new understanding of heritage branding, the identity of brands, and the context in which they are created.

Keywords: Brand semiotics; Luxury brand management; Brand heritage; Brand identity; Luxury consumption; Myth; Framing

Introduction

London’s Savile Row is known worldwide for its bespoke tailors and hosts shops of traditional luxury [1], some of which can be regarded as being quietly legendary. Those shops are remarkable at creating an old-style luxury atmosphere using complex signs and textures to create a traditional luxury myth and address certain customers who identify themselves with the brand [2]. For the analysis of a luxury brand store with a traditional heritage, we apply a semiotic approach that eventually leads to a specific distinction of a unique brand heritage. Despite the increasing awareness of semiotic approaches in the marketing and management domains, current literature and case studies only use the surface of semiotics. We try to fill this gap and present a complex concept by applying the semiotic approach to the field of luxury brand management. Even though many different semiotic approaches exist, Charles S. Peirce’s philosophy is still one of the most complex, with three trichotomies and main subcategories, thus allowing for a precise analysis and a classification of meaningful significations. The design of a traditional luxury store was d to study the different simple and very complex structures of the sign meanings concerning the corporate culture of the luxury brand. Our results reveal the necessity of creating a traditional luxury store design using several complex and structured signs and meanings, including a narrative frame [3], thus leading to the myth of old-style luxury branding. With reference to the aforementioned concept of Peirce, our approach has the potential for further semiotic research not only for luxury fashion but also for several fields of marketing and management. Similarly, compiling a framework for brands with a traditional heritage must be a company’s core interest. Due to the compiled semiotic concept analyzing heritage framing, the implications of our study include advice regarding the use of signs for the creation of an elegant and old-fashioned atmosphere for luxury shops. The atmosphere of a luxury store can therefore represent the identity of a brand based on the specific meanings of signs. Nonetheless, the semiotic concept might also be a valid tool for further advertising or brand semiotics research in marketing and management.

Background

There is little consensus about the applied semiotic phenomena in luxury, although the semiotic concept seems to be an essential and inevitable part of luxury brand heritage. To have a better understanding of this phenomena, the principles of brand heritage from the luxury value perspective are discussed first and then followed by a brief introduction to Pierce’ semiotic philosophies, which will be the methodical background of our study.

Luxury values and brand heritage

The deep-rooted history of traditional craftsmanship in family business with well-known founding fathers is especially associated with luxury brands. It becomes evident that authenticity and emotions from the past represent relevant key elements of an advanced, well- positioned luxury brand, thus creating the core part of brand heritage. Urde M, et al. [4] define the heritage of luxury brands as “a dimension of a brand’s identity found in its track record, longevity, core values, use of symbols and particularly in an organizational belief that its history is important“. According to this, a brand with a strong heritage is assumed to be very genuine, dependable and trustworthy [5,6]. Regarding the wide range of the differentiation and authenticity due to the early roots, the heritage of luxury brands can be a significant value driver [7]. Through heritage, we can “define these brands today and add value, especially when they are re- interpreted in a contemporary light”. In the times of a fast-changing digital environment, luxury brands have to challenge the link between the past and the present in a way that is more meaningful, modern and history-charged [8].

As consumers are increasingly aware of a brand’s origin, the heritage of a luxury brand is an essential part of the relationship between the customer and the brand that is seeking the customer’s loyalty [9]. This also has effect on a brand’s shop architecture: “In a consumer-driven retail environment, brands seek to build strong customer relationships by providing dazzling stimuli […]” [10].

Existing research on the influence of brand heritage in the luxury industry found evidence for a causal relationship between brand heritage and brand luxury, as well as significant impacts on a customer’s perceived value and resulting effects on brand strength.

Indeed, a causal relationship can be observed between the brand, heritage, and luxury, as the impacts on perceived value and the effects on a brand’s strength are highly significant [11]. However, a luxury brand, which symbolizes and represents the customer´s lifestyle, is always required [12]. Overall, brand heritage may be regarded as one of the major components for building successful luxury brands, which is an assumption that leads to the creation of a sustainable unique brand personality, brand meaning, and core values and manifests in the tension between the past, present and future.

Semiotic approaches for the meaning of brand

The term semiotics is typically related to the antique Greek phrase of σημεῖον (semion), which means sign [13]. By deriving from an original phrase and referring to an academic concept, semiotics implies a specific meaning. Thus, the core characteristic of semiotics can be described and interpreted as the meaning of signs.

Unlike the traditional quantitative methods in marketing and management that imply the investigation of several stimuli and their effects, the qualitative semiotic approach examines the consistence and the creation of the stimuli – i.e., the signs. With representatives such as Charles Peirce in the early 20th century and Lévi-Strauss, Barthes, Eco, and Jakobson later on, semiotic studies in the humanities became very popular during the pragmatic turn. Many known disciplinary phrases in the humanities, especially the linguistic domain, have been influenced by the semiotic approach. Though there is a strong interest for marketing and management to identify the consistency and quality of signs for the creation of brands, semiotics was first recognized for marketing and management in the 1980s [14-17]. Nevertheless, quantitative approaches investigating stimulus-response models are the most commonly used, and the semiotic approach as a productive methodology has gained more importance in recent years [13,18- 26], as well as König, et al. [2] regarding luxury brand myths in reflection of Barthes’ approach). Nevertheless, “very few studies have focused on the concept of brand contract […], the discourse directly emitted by the brand, and the relevant methodology to analyse brand extendibility” [27].

Thus, there is a lack of studies investigating semiotics in the context of luxury marketing [28]. Starting from the ground, a differentiation between the trivial and the extraordinary luxury is of core interest in the field of luxury research. Though Vega-Sala/ Roux, et al. [27] and Kessou, et al. [29] did some prior research in this context before, there is much future research necessary.

Regarding the application of semiotics for marketing and management, we generally still have to face a methodological approach that is simplified to research markets, and concepts that are used to deal with simple numbers. Nevertheless, by starting with an approach that offers a broad range of differentiation, semiotics offers the possibility of introducing complex models for understanding the meaning of signs as creators of brand identity. Concerning the complexity of sign construction and its variables, Peirce’s model still may be regarded as the most differentiated and distinctive semiotic approach ever established [30,31]. While earlier semiotic marketing approaches and reflections only pay attention to the fact that signs represent specific meanings of brand, the adaption of Peirce’s classical model in the context of marketing offers the unique classification of what, where, and how signs create our reality. Within this trichotomy of signs that refer to brands in general and luxury in particular, we may observe the construct of how brand management can create values up to a unique and distinctive identity. “Brands are built over time and space. Since the day of their creation, brands shape and develop themselves. Their identity is created through successive communication campaigns year by year” [27].

Conceptualization and Propositions

Especially in the marketing and luxury industries, the signs of a brand identity can face consumers at any time. “The consumer world is a web of meanings among consumer and marketers from signs and symbols ensconced in their cultural space and time” [32]. Against this backdrop, the question arises as to what kind of consumers are confronted with signs, or more specifically, what kind of sign chains they associate with the brand. Based on a compilation of Peirce´s trichotomies, a conceptual framework, which we call the semiotic molecule, will be constituted. Finally, we will derive the propositions for the sign chains of luxury brand myths in terms of the aforementioned concept.

Defining the text: signs as textual phenomena

To determine the signs relating to luxury values, it should be realized that all the signs that are included in such a context can accumulate in a text that can be read. This holistic understanding of a text [33-35] simply relies on the assumption that we communicate with all of our senses. The sum of those signs creating a specific (up to complex) meaning in this way of communication can be defined as the semiotic text that consumers are able to read [36]. This idea can be exemplified by food in supermarkets, which is arranged as a textual sign chain with reference to specific values.

M&S [Marks & Spencer] utilize a style that defines the brand and values of the group, and in order to elevate the definition and significance of their food within the market, they adopt a modern approach to food marketing that utilizes a set of semiotic codes to reinforce and add symbolic value to their products [37].

Therefore, without neglecting other approaches of textual research, semiotic texts can be seen as multisensory complex sign chains, which is an assumption that builds the foundation for new approaches in future research. Concerning our observation and in favor of an easier intuition, only the visual signs will be brought into focus within the semiotic text.

Meaning of brand presentation: The semiotic molecule

The semiotic approach of Charles Peirce offers the possibility to determine signs with a precision of three different perspectives concerning the Representamen, i.e., the relation of the Representamen to the signified object, and the relation between the sign and the Interpretant, i.e., the complexity of the sign for a reader. This trichotomy is divided into three different classes, which are Firstness (possibility), Secondness (existence), and thirdness (law). Representamen (which we will call signs in the following) may be divided into qualisigns, sinsigns, and legisigns, and object relations may be divided into icons (such as a statue or picture), indices (such as smoke referring to fire), or symbols (arbitrary signs). Interpretant relations may be divided into rhemas, dicents, and arguments, which represent the complexity of the meaning of a single word up to complex sign chains and systems [30,31,38]. Theoretically, these three trichotomies would result in 27 combinations (3x3x3), but due to some impossible combinations (a qualisign can only be rhematic and iconic), a total combination of ten main sign classes is possible. Within a semiotic framework, we call these ten possible combinations the semiotic molecule on which our world of signs is based (Figure 1).

For More Open Access Journals in Iris Publishers Please Click on: https://irispublishers.com/ For More Information:https://irispublishers.com/jtsft/fulltext/becoming-the-kings-men-the-semiotic-molecule-of-luxury-brand-heritage.ID.000624.php

[lupinepublishers]

Lupine Publishers | Transition in Knitwear Design Education towards Professionalism: A Framework for Creative Knitwear Education Using Finger Knitting- Based System

Lupine Publishers | Journal of Textile and Fashion Designing

Abstract

Due to the fast-growing knitwear markets and revival of knitting, knitwear design became important elements in design. Nevertheless, knitting was perceived as an inferior subject under current curriculum due to the deep traditional rooted role of it. Thanks to the passive learning cultures and unbalanced proportion of design and technology teaching modules, there was lack of systematic training of the knitwear design professions. This study thus aimed to develop an innovative finger knitting-based educational method to link the fundamental knowledge, realistic application and service setting of knitting. Historical development of knitting, how its impact on knitting education and the newly developed education method was discussed. Survey and informal interviews the effectiveness of this method was done. Students felt satisfied with the subject teaching method and found it useful to understand the principles of knitting.

Keywords: Finger Knitting; Knitwear Design; Knitting Technology; Service-Learning; Design Education

Introduction

Traditionally, when talking with knitting, it was usually associated with femininity, woolly stuff and old-fashion. It was even being considered as unattractive domestic craft that only elderly will perform it. It even being considered as unattractive domestic craft that only elderly will perform it. Nonetheless, knitting was undergoing resurgence that the knitting population was increasing rapidly and noticeably, 18-34 years old people is accounted for almost 20% of knitting population [1]. In the light of ubiquitous social network, like YouTube, knitting skills spread quickly and thus support its growth [2]. Also, numerous benefits were brought by knitting as supported by literatures. It also could be served as a medium of therapy [3-6]. It was even considered as a new yoga that performing it could bring the effect of claiming and relaxation [7]. Moreover, due to the refusal of consumption culture, there was a rise of "Do-It-Yourself" and "Craft Revolution" [8]. Nowadays, people appreciated hand-made products and regarded knitting as an art form. For example, Sayeg utilized colourful yarns and knitting methods to create street art that provided a warm feeling to the unforgiving city [9]. Knitwear design also became an important element in high fashion.

However, knitting was still perceived as an inconsequential subject under current curriculum due to the deep rooted role of it. Knitting was taught under home economics, which was usually overlooked and regarded as leisure-based activities. For fashion design major in university study, traditional cut-and-sewn dominated the core subjects; while for textile technology subject, the subject focused on the operation of knitting machinery instead of its principles and techniques. It was clear that insufficient and unsystematic education has been provided. This hinders the development of knitwear design and the training of knitwear profession.

Apart from this, service-learning was the prior concern of current education. This provided opportunities for students to apply their knowledge and skills acquired in university education to deal with complex issues in the service setting. Students could deepen their understanding of the academic concepts and grasped the chance to practice while build up a reciprocal relationship with the community. For future knitwear design education, knitwear profession should integrated fashion design, knitting technology and social service. Hence, this study aimed to develop an innovative finger knitting-based educational method to link the fundamental  knowledge, realistic application and service setting of knitting. This paper was thus investigated the historical development of knitting and how its impact on knitting education. Then, the newly developed finger knitting-based system would be introduced and both survey and informal interview research on the effectiveness of this method would be discussed.

Knitting Development and its Impact on Knitwear Education

It is believed that knitting is originated in the Middle East that the first knit product was the 'Coptic socks' found in Egypt [10,11]. Knitting was then thrived for a long period of time that everyone, even young men, worked with it to fabricate knit products, like socks, sweaters and hats. Nevertheless, owing to the invention of knitting machines and the Industrial Revolution, knit products could be mass-produced and hand knitting became home craft that performed by housewife. Although knitting regained popularity slightly during the Great Depression and the World War, it was considered as old-fashion and rejected by young generation [11]. The revival of knitting is started from around 2000. With reference to The UK Hand Knitting Association [12], there were approximately 7.2 million of knitters in UK and there is 12% growth rate stably. Thanks to the rapid development of social network, the knitting techniques are shared swiftly. Terms related to knitting have been searched by an increasing rate of 250% a year [2,12]. Moreover, campaigns or projects regarding knitting are carried out to promote knitting. For example, the "Stitch 'N Pitch Night" game held in 2005 that around 1600 people joined and knitted [13]. Young people think that knitting is a creative and trendy activity now [14]. Therefore, it is doubtless that there is increasing number of people participating in knitting and shows a revival of knitting.

Knitting is also now associated with art and design, and sometimes political and social acts. There is a famous term called graffiti knitting (or yarn bombing) that, in fact, regarded as a kind of street art. A well-known example is "Knit the City" that aimed to utilize knitting and crochet with underlying subversive, feminist and political objectives. Artists cover the city by knitted pieces and tell "stitched stories" [15]. Previous research also considered knitting was associated with feminist movement [16,17]. Academic studies regarding knitting usually focus on feminist ideology rather than its benefits and development in educational aspects.

Furthermore, with the increasing popularity and world population, the market of knitwear product was growing rapidly. According to The NPD Group, Inc./Consumer Tracking Service, the total U.S. hosiery market had 3% growth to $7.3 billion in the past 12 months since May 2014 [18]. Population growth was a double edged sword. It brought business opportunity yet challenges to current knitwear industry. Consumers were looking for variety on styles with high quality. To survive in such highly competitive and fast-growing global market, designers and manufacturers had to improve overall versatility and creativity of their products. This heavily replied on the profession training offered in schools. Nevertheless, current knitwear design training was far from meeting the market needs.

In the light of the prolonged historical role of knitting, knitting was regarded as domestic leisure-based activity that usually performed by housewife. The existence of systematic education on knitting can be traced back to the mid-20th century [19]. After the Second World War ended, western countries such as United States and United Kingdom, introduced the home economics curriculum consisting knitting based on the circumstances that it trained girls to meet the requirements of housewifery. This situation was even more obvious in eastern countries, where inability constitutes the virtue of women [20]. Knitting was also marginalized by current educational authorities. It was classified as an optional subject under home economics in secondary school and an elective subject under fashion design in tertiary study. The complexity and its philosophical base were neglected. Insufficient and superficial education programs and shortage of professional teachers were resulted [19,21]. These were not favourable for the development of the knitting industry globally.

What make the situation more badly was that the learning styles of students were relatively passive in eastern culture. Traditional Chinese learning style was influenced by Confucian values [22]. Students should not question about the knowledge of teachers and should respect the opinions of people with higher rank. Challenges to teachers were regarded as improper behaviour that might cause them to lose face. The education system required students to memorize knowledge rather than understand or criticize it. This was exemplified by the examination system, which surface learning was promoted [19,22]. Even for the technical subjects, like knitting, students were trained to memorize the steps instead of understand its principles to manipulate the skills. Therefore, students might not able to understand, create and correspond to changes. It was expected that under such an education environment, the profession was not sustainable, not to mention providing the industry with talent to cope with the challenge in the dynamic garment market.

Although some universities incorporated knitwear as an elective subject or specialism under fashion and textile design study in recent years, the focus of the subject might not be the best fit to current ever-changing world. Though people generally agreed that design should comprise of art and technology, they argued about the relative importance and the proportion on design education [23]. This resulted in imbalanced training provided. Besides, fashion design students in eastern countries were relatively weaker on science due to their learning style. Even they underwent the knitting technological training, they were usually just memorized the necessary information without real understanding in order to survive in the examination. They were hardly comprehended the principles and not able to apply it in real situation. In some situation, students were usually required to learn knitting methods   by machinery and the knitting theory separately. This, as a result, was sadly found that students were sometimes not able to link up their works with the principles. This might further limit their design potential.

Furthermore, service-learning was become more important in current education as it brought numerous benefits, such as increasing sense of personal efficacy and awareness towards world issues [24,25]. It was defined as a kind of experiential education approach [26]. Experiential learning was believed to be beneficial to design education as it promoted experiencing, reflecting and thinking [27,28]. Knit products were usually used as gift or for charity purposes. It was a good medium for social service. This was also important for students to see their part in the larger community and learn why it is important to help others. Through community service, their learning in the classroom could be enriched and their sense of social and civic responsibility could be enhanced. These qualities were preferred, either by local or global employers. Hence, current knitwear design should incorporate art, technology and service-learning to equip students with higher competitiveness (Figure 1).

To tackle with the current plight, this paper suggested an innovative finger knitting-based system to train university students who studied knitwear design. This method aimed at filling up the linkage between fundamental knowledge and realistic application of knitting. It integrated well-balanced art, technology and service-learning to meet the market needs. Comprehensive guide explaining its principles and research on the effectiveness of this method would be discussed.

Finger knitting-based education system

Fundamental knitwear design subject was recommended to employ this novel teaching method. Students were required to learn the knitting principles and techniques by finger knitting. Both weft and wrap knitting, flat and circular knitting methods can be exemplified by finger knitting methods. Finger knitting could also perform almost all knitted patterns and structures, like such as jersey, cable, jacquard, floating, tuck and missing stitch. This thus provides a simple yet effective way to help students to have better understanding of knitting technology. Below are the brief introduction and demonstration of finger knitting and its techniques (Figure 2).

The teaching and learning of knitwear design by finger knitting-based system involved essential textile fabrication steps as usual. For example, it included materials selection, yarns design, size measurement, and knitting design and so on. Underwent those processes enabled students to familiar with real knitting industry practices. The materials selection processes required students to understand the yarns properties and predominate the yarns design skills. In addition, finger Knitting imitated the technique of machine knitting. Hands replaced the knitting bed while fingers replaced the needles, such as latches, to complete the knitting processes. The movements of the fingers demonstrated the loop formation steps, included clearing the old loop, feeding the yarn and knocking-over.

The distance between fingers imitated the machine gauge to control the density. The knit pieces were also having similar characteristics of traditional machine knitted fabric, such as edge curling. With real-time finger knitting demonstration and practice, students could link up the theoretical principles and machine manipulation (Figure 3). Students were expected to attend a series of small group lectures and tutorials focused on providing them a critical understanding of knitting principles by finger knitting methods and offering them with practical training on finger knitting and machine knitting. It hoped that the relationship between finger knitting and machine knitting could demonstrate the complicated yet essential knitting theory in a simple way step by step. For one semester learning and teaching, students had to imitate the whole process in knitting industry, including yarn design, pattern making, garment design and production and finishing. Eventually, students had to submit a knitted garment that involved these processes. Hence, students were not just grasping the knowledge of knitting techniques, but also the procedures in knitting industry. As a result, this enhanced their learning and facilitated their future employment in industry.

It also hoped that students could involve in a service learning session that they organized and shared their finger knitting with others. Finger knitting was also an effective means of improving hand functions and muscle strengths as simple hands and fingers' functions were needed. It was especially good for elderly service to tackle with recent ageing and health problems in the society. Students were thus required to plan and organize the workshops for their group's target. During their community service, reflective seminars could be organized to provide opportunity for students to share their service experiences with other students and supervisors, and discuss their learning and serving strategies and techniques in order to successfully apply their knowledge to support community service. This, hence, helped to link their academic content of subject with the service learning activities and deepened their understanding on their learning at university (Figure 4).

The Study

To understand and investigate the effectiveness of this method, pilot study was done. The study took "knitwear design" subject of university as the pilot subject to employ the new teaching method. This teaching and learning method had employed for 6 years in the university subjects of knitwear design. All students were from fashion and textile study. More than 300 of students enrolled in the past years. To investigate the effectiveness and acceptance of this finger knitting-based education method, student feedback questionnaire developed by the university was adopted. Also, informal interviews and observations were the major methods to investigate the acceptance of students and the effectiveness of this method (Figure 5). For one semester learning and teaching, students had to imitate the whole process in knitting industry, including yarn design, pattern making, garment design and production and finishing. Finally, they were encouraged to bring their learning into community to share the finger knitting techniques (Figure 6).

From the student feedback questionnaire, it used 5-point scale to test the level of agreement of the sentences. It asked questions regarding the comments of the subjects and the views of the teachers. For instance, a sentence concerning the opinions on the subject was "teaching and learning activities helped me to achieve the subject learning outcomes". There were totally 4 questions regarding the views on subjects, 5 questions regarding the teachers and 2 questions regarding the overall views. 128 students completed the form. The mean scores of the past years were more than 4.5, which were significantly higher than the faculty mean of 3.9 and placed among the top 10% of the institution. This clearly showed that the teaching and learning method was highly accepted and appreciated by students. Table 1 shows the means and standard deviations of each category of questions(table 1).

There were also questions concerning about the workload and average hours that students spent per week on this subject in order to understand the level of suitability of course setting. The results were shown on Figure 7. More than 90% of students thought that the workload and assignments were appropriate. Majority of students spent around 8-10 hours per week, followed by 5-7 hours. The time included the lectures, tutorials, workshop and other related works done. Hence, the workloads were acceptable by students (Figure 7).

From the informal interviews and observation, all of the students felt satisfied with the subject teaching method and found it useful to understand the principles of knitting and linked up with their laboratory learning's. Below was the discussion concerning their opinions and this responded to objectives of the finger knitting-based education system by thematic analysis? The main themes were threefold:

a) Learning and personal growth

b) Creativity and empowerment

c) Enjoyment.

Learning and personal growth

During the finger knitting learning process, all students found it easy-to-learn yet useful. Students knew neither knitting nor finger knitting before and only a few of them know hand knitting. They learned it during the lessons and found that it was amazing. Only some of them needed to repeat the steps and tries more times to grasp the skills. However, all of them were able the grasp the basic techniques at the end of the first practicing lesson. With demonstration and practicing activities, they were able to integrate the theory with the practical skills.

"It is a bit challenging at first. I need to pay attention and follow the steps carefully. But after I grasp the basic techniques, I find it very interesting to change a little step to create new patterns... I also can understand the principles of knitting easily and able to apply it on the laboratory lesson (where machine knitting was employed)."

"With the practice of finger knitting, I understand the importance and underlying principles of machine gauge and yarn tension. Before, I just memorized the calculation formula of them."

"Making the knit garment by hand (finger knitting) really helped me understand the structure of knit garments and how machines work."

"The way that how the knitting needles move up and down and the setting of needles, all can be learned from using my fingers to knit garment easily"

"I learned the teaching skill of knitting, the real situation of the industry and how to do the work of knitwear designer."

Apart from better understanding of the principles and grasping of machine knitting, more examples regarding the benefits of finger knitting as a teaching method could be found. Since students found it "amazing”, they were curious about the techniques and the effects on the knit pieces. Some of them would ask questions concerning about finger knitting. This active questioning situation was seldom appeared with traditional teaching methods on Chinese classroom. Take edge curling as an example. After finger knitting a knit piece, edge curling would happen as usual. Students would then ask for the reasons why this situation would occur and how to avoid it. Also, many of them even tried to apply it for creating new patterns and made their own pieces afterwards. These showed an encouragement of active classroom.

"The most useful to my learning is that the principles of knitting and different styles of knitting. at least I can knit something in the future even I don’t have a needle. But we do finger knitting."

"Different stitch can be learned and understood easily by finger knit. it will be great if more stitches can be taught in class."

As students were required to accomplish a knit garment by finger knitting as their final assignment, they needed to do all the planning and preparation, such as yarn selection, time control, measurement, costs calculation and design. This was not just enabled them to undergo the whole production process of a knit garment, but also help to improve their ability of management and thus facilitated personal growth.

"A very all-rounded syllabus."

"Interesting. I need to find suitable yarn and choose suitable knitting construction to match my theme. Next time, I may try to create yarn as well."

'After I finished my assignment, I found that it is not easy to make a knit garment. It involved so many procedures and required plenty of planning. It is a good learning process for me. I learned problem-solving skill and became more patient."

Furthermore, with the experience of sharing their skills with others and brought it into social setting, students could link their academic content of subject with the service learning activities and deepened their understanding on their learning at university. They also could have better understanding towards the community and thus might devote themselves in community service and balanced their academic study with social servicing activities. This, eventually, might facilitate positive growth.

Creativity and empowerment

The creative power was unquestionable that students were able to create a piece of their own knit garment successfully. This also brought them a sense of achievement and empowered them to create their own piece and express their views via knitwear design. All of them were able to transform their idea into a well-finished knit garment. During the process, they had to make the knit garment step- by-step. Through these, they were able to understand themselves more. They knew more about their strength and weakness and this helped in facilitating positive change. For instance, when they chose to knit a pattern or structure, they had to understand the knitting principles and apply the skills flexibly to achieve it, especially if the pattern or structure was not conventional one. This improved their creative thinking and problem-solving skills.

"It is a bit challenging at first. I need to pay attention and follow the steps carefully. But after I grasp the basic techniques, I find it very interesting to change a little step to create new patterns."

"I knew more knitting skills and changed my mind to knit."

"Finger knitting is a skill that can be well used in fashion design."

"Finger knitting is very useful and has good effect."

Another obvious empowerment observed was that students were able to share their skills and thoughts. As a major activity in class, students learned and shared new skills together. They could ask for help when they had problems. On the other side, they taught others, either in class or in social setting. This might help to build up sense of belongings and self-confidence, which involved numerous benefits.

Enjoyment

Noticeably, many students found that finger knitting brought "enjoyment" and "satisfaction" to them. They thought it was interesting and unique.

"I never knit or crochet before. I think it is fun, cute and enjoyable."

"Machine knitting is convenient but finger knitting bring satisfaction."

"Finger knitting is very interesting for me. It is a fanny experience."

Students also felt satisfaction due to the sense of achievement obtained. They were all able to accomplish a knit garment and most of them were wearable and even marketable. In addition, they felt relaxed and happy when compared with other subjects. Some of them thought it even helped to alleviate their stress.

"When I feel stressful with studying, I try to do something else as a break... A bit surprise that after a half hour knitting, I free from the nervous feeling of my studying and concentrate on knitting. Although I still feel pressure from the exam, I am more relax and happier."

Another major reason of enjoying the finger knitting-based teaching and learning method might relate to the peer support and active classroom learning. Learning was through activities and active participation instead of passive and memorizing methods. Apart from this, it was generally believed that helping and serving others is the foundation of happiness. Service learning and sharing skills might enable students to be happier. Also, through this, people in the community might find that students do care the community and helped to bring the community closer and closer.

Conclusion

In the light of the prolonged history of knitting, it was traditionally regarded as an insignificant subject in current curriculum. Even through knitting was undergoing revival and regained popularity, there was lacked of systematically education method to integrate knitwear design, knitting technology and service learning. The case was even more serious in Chinese culture as passive learning style was prevalent. Hence, this study suggested an innovative finger knitting-based education method for knitwear design. It linked the fundamental knowledge, realistic application and service setting of knitting. It hoped to provide a systematic and professional training to future knitwear designer.

Finger knitting imitated machine knitting. It helped to demonstrate weft knit, wrap knit, flat knitting and circular knitting. Finger knitting could perform almost all knitted patterns and structures. Yet, it was easy-to-learn and could help students to understand the underlying principles of knitting. It also would not limit students' creativity and enabled them to create their own garment freely. Moreover, knitting was usually regarded as a good way for social service. This also enabled the service learning. Students could apply their academic learning in social setting. Hence, this could deepen their knowledge understanding and arouse their awareness towards society.

In order to study its effectiveness and acceptance, survey, informal interviews and observation were employed. Students were very satisfied with this teaching and learning method. Thematic analysis showed their major themes regarding their perceptions and thoughts were

a. Learning and personal growth

b. Creativity and empowerment

c. Enjoyment.

To sum up, it was clear that finger knitting-based education method might be a good solution for current knitwear education dilemma. More study should be done to validate its effectiveness. For example, in future study, students' demographic background might take into consideration since art background students might weaker in science than technological background students, vice versa. Nevertheless, finger knitting was still worth for future investigation due to its advantages showed in this study.

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The Role of Photoluminescent Pigments in Textiles: Crimson Publishers

The Role of Photoluminescent Pigments in Textiles by Richa Sharma* and Nilanjana Bairagi in Trends in Textile Engineering & Fashion Technology

Photoluminescent pigments are specialty pigments which possess a unique property of glow in the dark. In absence of any light source in dim and dark light conditions, photoluminescent pigments tend to emit light which opens up new areas of applications, especially in the field of textiles. This paper explores the concept of photoluminescence and factors affecting the performance. This paper also looks at the various applications that have emerged in the area of textiles while embarking on future scope of research and experimentation.

https://crimsonpublishers.com/tteft/fulltext/TTEFT.000533.php

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[crimsonpublishersfashion]

A Comparative Study on Discharge Printing Using Conventional and Ecological Recipe- Crimson Publishers

A Comparative Study on Discharge Printing Using Conventional and Ecological Recipe by Seema HS in Trends in Textile Engineering & Fashion Technology

Textile printing is an ancient art from the Egyptian tomb era to a modern era, which is one of the most important processes for the manufacturers. Art being a creative pattern of imagination and immense competition and globalization in the textile world, were the key major concern for the manufacturers is from the customer who are mostly looking for eco-friendly products, textile printing has become more dependable on the science than it was. The discharge printing methods is one of the popular techniques used major for its aesthetic attractiveness of the product. Discharge printing has opened the door over past 6-7 years for the mass garment production after developing a dischargeable ink system. Mostly 20-30% of the chemicals are used in one cycle of printing which are hazardous to the environment and some of the chemical methods, toxins like carbon monoxide, sculphur dioxide, zinc oxide and many more which harms the environment. The main objective of the study is to compare the conventional and ecological discharge printing paste by developing a hand screen printing on reactive dyed cotton and silk fabric and tests conducted on the different parameters of the printing paste to understand the effluent level to the environment.

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[debutart]

Debut Art is proud to announce we are now representing artist Nicky Ackland-Snow!

Nicky is a collage artist based in Wiltshire, United Kingdom.

Professional qualifications: First Class BA (Hons) Graphic Design & Illustration / PGCE Current clients include:                BBC Homes & Antiques Magazine / Bridgewater Books / Collins & Brown / Cox & Cox / Dorling Kindersley Publishing / DBP Publishing / Elle Decoration / Glastonbury Festival / Ivy Press / KCGB for Holstein Pils / Lawyer 2 B Magazine / Longman’s Books / Marie Claire Magazine / Metro Newspaper / MTV / New Scientist Magazine / Pan Macmillan Books / Quarto Books /  Quiet Storm Ad Agency / Serpent’s Tail Books / Sony Columbia Records / The Art Group for MTV / The Big Issue / Vintage Books / Atlanta Magazine / Bloomberg Press / Boston Globe / Chicago Tribune / Computer World / CIO / Communications / Family PC Magazine / Good Housekeeping Magazine / Hemisphere Magazine / Lawyer Magazine / MS Magazine /     National Law Journal / New York Times / Sales and Marketing Magazine / Science & Technology Magazine / Technology Review / The Voice / Time Magazine Asia / Wall Street Journal / Washington Post / Women’s Journal Festival art clients include: The Hub stage at Glastonbury (1995) / Shindig (2014/2015) / Womad (2004) Her work has been featured in the following fine art exhibitions: ART IN BOXES · (1991/2 and 1993/4). ‘England & Co’ London, Nottingham Castle Museum; COLLAGE SHOW · (1993). ‘England & Co’ London; SURREALISM 35-95 · ‘England & Co’ London; TEN · ‘Fouts & Fowler’ London; WINTER EXHIBITION / TREADWELL’S ART MILL · (1994) ‘Goetz Gallery, Basle, Switzerland; THE NEW LOS ANGELES ART FAIR / TREADWELL’S · (1994) ‘Universal Studios’ Hollywood; LONDON CONTEMPORARY ART FAIR / TREADWELL’S · (1996)  London; THE PETER BLAKE COLLECTIONS EXHIBITION - Tate Modern (2005) Installations include:  WATERSTONES BOOKSELLERS · Bath (1993); ANGEL BAR AND RESTAURANT · Islington, London (1995); BATH LIONS artists – Summer (2010)

Production Line include: 'Nicky Snow' - gift and prints (2008 - 2012). Shortlisted for  Ideal Homes 'Gift of the Year' (2010) Authorship include: FLY-THE ART OF THE CLUB FLYER 1996 · Published by Thames & Hudson, London and Watson Guptill, New York. Achieved status of 2nd best selling design book in UK 1997. Awards include: Ozzie Gold Award for Design and Illustration (2004) Press Appearances include:  BBC Homes & Antiques  / Creative Review / Computer Arts / Elle Decoration /  Marie Claire  / The Independent / World of Interiors Teaching Posts include: Experienced lecturer and course leader for BA Illustration /  BA Graphic Design / HND Fashion & Textiles / Foundation Diploma Art, Design & Media / BTEC EXT National Diploma Graphic Design

[itraininginchandigarh]

Arts courses after 12th in Chandigarh

Arts courses after 12th in Chandigarh: Students who pursue their 12th standard in arts enjoy the revive of choosing from a wide range of career options after 12th arts. This is because the arts stream bounded enough subjects, thereby making this field a mixed one with considerable career scope.

Some of the most promising subjects taught under humanities include History, Geography, Sociology, Economics, Mass Communication, Law, Psychology, Political Science, Linguistics, and Language studies (English, Hindi, Sanskrit, etc.). One of the best things about the 12th arts is that there are plenty of career options after 12th arts. One has to know the list of all career options after 12th arts to select the right one.

Below is a list of some great courses after 12th arts that you can choose–

Career Options

After 12th Arts

1. Bachelor of Arts (B.A.)

Bachelor of Arts is a full-time, 3-year undergraduate course in three domains – humanities, social sciences, and liberal arts. It is available in many various types of specializations such as Psychology, History, Archaeology, Geography, Economics, Journalism, Mass Communication, Sociology, Anthropology, Literature, and Languages (all the major languages), Environmental Science, to name a few. As a part of this undergraduate program, students have to choose an honors subject along with a few elective subjects.

B.A.'s specializations provide enormous flexibility to students deepen their cultural understanding and awareness and also motivate them to develop their critical thinking, analytical, written, and communication skills. The best thing about graduating with a B.A. honors is that students enjoy plenty of job opportunities spread across industries like academia, tourism & hospitality, aviation, media and entertainment, and also government agencies.

2. Bachelor of Fine Arts (B.F.A.)

If you are pondering what to do after 12th arts, a popular career choice among students after 12th arts is studying fine arts. Bachelor of Fine Arts is the perfect career option for candidates who have a creative flair. Just like the B.A. course, B.F.A is also a 3-year program that includes Fine Arts, Visual Arts, and Performing Arts. Students can take up unique specialization courses like Theatre, Film Making, Music, Dance, Painting & Sculpting, Pottery & Ceramics, Creative Writing, Architectural Drawing, Textile Design, and Animation.

This undergraduate degree opens up unique career options after 12th arts. Aspirants seeking to pursue B.F.A must possess excellent creative, artistic, visualization, and presentation skills. If you finished your graduation with a BFA specialization, you will not only gain a formal education in your chosen field, but you will also learn creative skills. B.F.Graduates can choose to be Teachers/Professors, Creative Writers, Professional Dancers/Singers/Musicians, Art Directors, Theatre/Drama Actors, and so much more. Today, Fine Arts education has become compatible with prestige and class.

3. Bachelor of Business Administration (B.B.A.)

BBA is the most famous course available for students & one of the best courses after 12th Arts. Bachelor of Business Administration is most desired and pursued a bachelor's degree career options after class 12th. The best part about the B.B.A. The course is open to all students hailing from the three streams, arts, commerce, and science. It is a 3-year, full-time undergraduate course that opens up employment opportunities in a host of industrial sectors like Sales, Marketing, Finance, Education, Hospitality, and Government.

Some of the most famous specializations offered in B.B.A. courses include HR Management, Sales & Marketing, Finance, and Information Technology. Students have the option of pursuing a B.B.A. degree either full-time or through correspondence.

A B.B.A program provides a solid beginning for developing business acumen, business administration, and entrepreneurial skills so that students can effectively take on and manage leadership roles. Any candidate wishing to opt for a B.B.A. course must possess excellent communication skills, a problem-solving mindset, time management skills, and team spirit. It is one of the best career options after 12th arts.

After obtaining a B.B.A. degree, students can bag high-profile job roles like HR Manager/HR Executive, Marketing Manager/Marketing Executive, Sales Manager/Sales Executive, and R&D Executive. Because of the perks and benefits, BBA is one of the preferred courses after 12th arts.

Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh Training Institute Chandigarh

4. Integrated Law course (B.A + L.L.B.)

As the name suggests, an integrated law course refers to dual degrees, one being Bachelor of Arts (B.A.) and the other being Bachelor of Legislative Law (L.L.B.). Since it combines two full-fledged courses, the course duration is 5 years, divided into ten semesters. The biggest perk of pursuing an integrated law course is that you can obtain dual degrees within the scope of one curriculum. It is the best career option for students who are wondering what to do after 12th arts and interested in law.

The syllabus is planned in a way that both the courses merge seamlessly (complementary) with one another. For example, the course curriculum of a B. A + L.L.B. program will cover a vast range of subjects from both domains, including sociology, economics, history, etc., along with the chief law subjects like Law of Evidence, Company Law, Crime Law, Human Rights & International Law, Environmental Law, and Civil Procedure Code (CPC), to name a few.

Usually, to pursue an L.L.B. degree, you must have a bachelor’s degree. However, if you opt for an integrated law course, you can study law right after class 12th. The Bar Council of India fully acknowledges integrated law programs. Thus, students having a B. A + L.L.B. degree can sit for the Bar Council of India exam to earn the professional license for practicing law which makes it one of the best courses after 12th arts.

5. Bachelor of Journalism and Mass Communication (B.J.M.)

Still, need options before deciding what to do after 12th arts? Bachelor of Journalism and Mass Communication is a 3-year undergraduate course divided into six semesters. The course curriculum includes a variety of fields such as Print Journalism, Television and Radio Production, Television Production and Writing, Advertising and Public Relations, Event Management, Social Media, Film Studies, and Media Law and Ethics. The extensive course curriculum is perfectly balanced to encourage students to develop technical skills in all relevant domains of journalism and mass communication and impart theoretical knowledge determining their features and usage.

A B.J.M. program aims to create socially responsible media professionals who are data-oriented and excel in oratory and communication skills. During the three years of the course, students are exposed and introduced to many different aspects of media, and hence, after course completion, they’re ready to take on real-world industry parts which made this one of the best courses after 12th arts.

A B.J.M. graduate can pursue a career in Radio, Print Media, Journalism (both print and digital), TV production, Films, Marketing & Advertising, and Public Relations, among other things. BMJ is one of the selected courses after 12th arts.

6. Bachelor of Fashion Design (B.F.D.)

BFD is one of the best courses after 12th arts. Bachelor of Fashion Design is a 3 to 4-year long undergraduate course specially designed for aspirants aiming to enter the fashion industry. The B.F.D. program involves the dynamic trends in the fashion industry and teaches students how to create original designs for garments, jewelry, footwear, accessories, and so on. Students are not only introduced to the ever-changing world of fashion, but they are also taught how to use different creative and analytical techniques/tools to design products according to the market trends and customer needs which makes it one of the best courses after 12th arts.

Bachelor of Fashion Design is an ideal career option after class 12th arts for students with curious and imaginative minds. It teaches candidates industry-specific skills like visual sensibility, global vision of design, prototyping, sense of color palettes, sewing, and much more. For students who are wondering what to do after 12th arts, joining BFD is a good option.

After graduating with a B.F.D. degree, students can look for job opportunities (apprenticeships) with major fashion houses and designers in the country. When they get a few years of industry experience, they can switch to international platforms. B.F.D. graduates can bag job roles like Retail Fashion Consultant, Retail Buyer, Personal Shopper, Merchandiser, Textile Designer, Garment Sample Coordinator, etc.

7. Bachelor of Hotel Management (B.H.M.)

If you are wondering what to do after 12th arts, BHM is one of the many crucial job roles in an organization. Bachelor of Hospitality Management is a 3-4 year-long undergraduate management course that trains applicants to enter the hospitality industry. The course covers a broad range of specialization areas including tourism, event management, lodging management, and the food and beverage industry.

During the course duration, students get sufficient opportunities to learn and sharpen their interpersonal skills, communication skills, conference skills, and customer service skills. Also, they develop an eager business sense with attention to detail, two core features of the hospitality sector. Because of these reasons, BHM is one of the selected courses after 12th arts.

After the successful completion of the B.H.M. program, candidates can bag diverse job roles like Hotel Manager, Accommodation Manager, Meeting & Event Planner, Food Service Manager, Sales Manager, Food and Beverage Manager, Catering Officer, etc.

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Indian Textile Industry: Opportunities, Challenges and Suggestions-Crimson Publishers

Indian Textile Industry: Opportunities, Challenges and Suggestions by Satish Kumar R in Trends in Textile Engineering & Fashion Technology: Crimson Publishers-Textile Science Engineering Journal

The Indian textile industry is highly fragmented and labor-intensive. The textile industry is being dominated by unorganized sector and Small and medium industries. The foreign investors are not investing in the textile sector which is also one of the areas of concern. The government policies and tax structure are not favoring this industry textile industry is highly competitive and the present situation demands the companies to benchmark their products with the best in the world and try to upgrade the quality and production processes. The paper tries to provide insights into the Indian textile industry. The article attempts to explain the opportunities, challenges and suggestions.

For more Open access journals in Crimson Publishers, please click on the link: https://crimsonpublishers.com/

For more articles in Trends in Textile Engineering & Fashion Technology, please click on below link: https://crimsonpublishers.com/tteft/

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[visazone]

Thinking of what to do 𝐧𝐞𝐱𝐭 𝐚𝐟𝐭𝐞𝐫 𝟏𝟐𝐭𝐡 ?

𝐕𝐢𝐬𝐚𝐳𝐨𝐧𝐞 processes for Countries like USA | Canada | Australia | Newzealand | UK | Germany | Italy | Sweden | Norway | Europe and many more....

𝐌𝐁𝐁𝐒𝐳𝐨𝐧𝐞 processes for Countries like Ukraine | Russia | Georgia | Armenia | Kazakhstan | Kyrgyzstan | China | Germany | Italy and many more....

𝐂𝐨𝐮𝐫𝐬𝐞𝐬:

𝟏𝟐𝐭𝐡 𝐒𝐜𝐢𝐞𝐧𝐜𝐞 (𝐆𝐫𝐨𝐮𝐩 𝐀) 𝐌𝐚𝐭𝐡𝐬:

1. AEROSPACE AERONAUTICAL ENGINEERING

2. ARCHITECTURAL ENGINEERING

3. AUTOMOTIVE ENGINEERING

4. BIOMEDICAL ENGINEERING 

5. CHEMICAL ENGINEERING 

6. GEOTECHNICAL ENGINEERING 

7. COMPUTER / SOFTWARE ENGINEERING 

8. ELECTROMECHANICAL ENGINEERING 

9. TELECOMMUNICATION ENGINEERING 

10. INTERDISCIPLINARY ENGINEERING 

11. LIQUID CRYSTAL ENGINEERING 

12. MANUFACTURING ENGINEERING 

13. MARINE ENGINEERING 

14. MECHANICAL & MECHATRONICS ENGINEERING 

15. METALLURGICAL ENGINEERING 

16. MICRO ELECTRO-MECHANICAL ENGINEERING 

17. MINING ENGINEERING 

18. NECULAR ENGINEERING 

19. PETROLEUM ENGINEERING 

20. PLASTICS ENGINEERING 

21. PRODUCT DESIGN ENGINEERING 

22. TEXTILE ENGINEERING  

23. DAIRY TECHNOLOGY

 24. ENVIRONMENTAL SCIENCE 

25. AVIATION TECHNOLOGY  

26. INDUSTRIAL DESIGN 

27. INSTRUMENTATION 

28. MACHINE LEARNING 

29. ROBOTICS 

30. BACHELOR OF VETERINARY SCIENCE & ANIMAL HUSBANDRY 

31. COMMERCIAL PILOT COURSE 

32. BACHELOR IN NAVAL ARCHITECTURE AND OCEAN ENGINEERING 

33. TELECOMMUNICATIONS ENGINEERING

𝟏𝟐𝐭𝐡 𝐒𝐜𝐢𝐞𝐧𝐜𝐞 (𝐆𝐫𝐨𝐮𝐩 𝐁) 𝐒𝐜𝐢𝐞𝐧𝐜𝐞:

1. MBBS 

2. VETERINARY SCIENCE 

3. BAMS (BACHELOR OF AYURVEDA, MEDICINE & SURGERY) 

4. BDS (BACHELOR OF DENTAL SURGERY) 

5. PHARMACY 

6. BACHELOR OF PHYSIOTHERAPY 

7. BASLP (BACHELOR OF AUDIOLOGY SPEECH LANGUAGE PATHOLOGY) 

8. BACHELOR OF OCCUPATIONAL THERAPY 

9. PARAMEDICAL COURSES 

10. BHMS (BACHELOR OF HOMEOPATHIC MEDICINE & SURGERY) 

11. BMLT (BACHELOR OF MEDICAL LAB TECHNICIAN) 

12. BSC IN NUTRITIONAL BIOLOGY 

13. BACHELOR OF BIOMEDICINE 

14. ADVANCED DIPLOMA IN BIOTECHNOLOGY 

15. DIPLOMA IN NUTRITION & HEALTH EDUCATION 

16. NATUROPATHY & YOGIC SCIENCE

𝟏𝟐𝐭𝐡 𝐂𝐨𝐦𝐦𝐞𝐫𝐜𝐞:

1. BACHELOR OF ECONOMICS 

2. BACHELOR OF MANAGEMENT STUDIES (BMS) 

3. COMPANY SECRETARY (CS) 

4. CHARTERED ACCOUNTANT (CA) 

5. BACHELOR OF BUSINESS STUDIES 

6. CERTIFIED FINANCIAL PLANNER 

7. INTERIOR DESIGNING 

8. TRAVEL & TOURISM 

9. PHOTOGRAPHY & VIDEOGRAPHY 

10. DESIGNING 

11. 3D ANIMATION 

12. DIGITAL MARKETING 

13. CULINARY PASTRY & BANKING 

14. JOURNALISM & MASS COMMUNICATION 

15. EVENT MANAGEMENT 

16. HOTEL MANAGEMENT 

17. FASHION DESIGN & TECHNOLOGY 

18. ANIMATION & MULTIMEDIA 

19. BACHELOR OF BANKING & INSURANCE 

20. BACHELOR OF VOCATION 

21. BACHELOR OF SOCIAL WORK 

22. BACHELOR OF PHYSICAL EDUCATION 

23. BACHELOR OF ELEMENTORY EDUCATION 

24. BUSINESS ANALYTICS 

25. CONFLICT ANALYSIS & MANAGEMENT 

26. HOSPITALITY & TOURIST MANAGEMENT 

27. HUMAN RESOURCE MANAGEMENT 

28. INFORMATION TECHNOLOGY MANAGEMENT 

29. SUPPLY CHAIN MANAGEMENT 

30. OFFICE ADMINISTRATION 

31. REAL ESTATE / PROPERTY MANAGEMENT 

32. PUBLIC RELATIONS 

33. DIGITAL BUSINESS 

34. TAXATION AND FINANCE 

35. FOREIGN TRADE MANAGEMENT