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Kako su se generacije kroz povijest razvijale, njihove životne preferencije i životni stil bili su definirani različitim povijesnim i ekonomski važnim događajima, što je tipično i za Generaciju Z. Jedno od esencijalnih obilježja mladih danas briga je za prirodu i okoliš. Ono što generaciju Z odvaja od ostalih prije nje je veća briga za okoliš i svjesnost o klimatskim promjenama koje utječu na globalnu ekonomiju. Ovo je generacija koja se odlučila intenzivno aktivirati na području zaštite okoliša i prirode, a kroz korištenje reciklirane odjeća generacija Z želi utjecati na promjene u modnoj industriji i tako smanjiti njezin utjecaj na okoliš. Uvođenjem eko-dizajna u modnu industriju potrošači su postali svjesniji kako je proizvodnja reciklirane odjeće čimbenik koji može donijeti pozitivne promjene u modnom svijetu, a samim time doprinijeti zaštiti i očuvanju okoliša. S tim u vezi, s povećanjem ponude reciklirane odjeće na tržištu njezina cijena će biti sve prihvatljivija za mlade potrošače., As generations developed throughout history, their life preferences and lifestyle were defined by various historical and economically important events, which is also typical of Generation Z. One of the essential characteristics of young people today is a concern for nature and the environment. What separates Generation Z from others before it is a greater concern for the environment and awareness of climate change affecting the global economy. This is the generation that has decided to become intensively active in the field of environmental and nature protection, and using recycled clothing, Generation Z wants to influence changes in the fashion industry and thus reduce its impact on the environment. With the introduction of eco-design in the fashion industry, consumers have become more aware that the production of recycled clothing is a factor that can bring positive changes in the fashion world, and thus contribute to the protection and preservation of the environment. In this regard, with the increase in the supply of recycled clothing on the market, its price will be more and more acceptable for young consumers.

This study aimed to use quantitative methods and deep learning techniques to report sportive fashion trends. We collected sportive fashion images from fashion collections of the past decades and utilized the multi-label graph convolutional network (ML-GCN) model to detect and explore hybrid styles. Based on the literature review, we proposed a theoretical framework to investigate sportive fashion trends. The ML-GCN was designed to classify five style categories, “street,” “retro,” “sexy,” “modern,” and “sporty,” and the predictive probabilities of the five styles of fashion images were extracted. We statistically validated the hybrid style results derived from the ML-GCN model and suggested an application method of deep learning-based trend reports in the fashion industry. This study reported sportive fashion by hybrid style dependency, forecasting, and brand clustering. We visualized the predicted probability for a hybrid style to a three-dimensional scale expected to help designers and researchers in the field of fashion to achieve digital design innovation cooperating with deep learning techniques.

In this study the effects of the baroque art period and the fashion trends of the 1990s on the clothing fashion trends that are on the agenda will be examined. Pattern, color, form and pattern making characteristics and art movements that have emerged in the field of clothing may have an impact on fashion trends again. The aim of this study is to emphasize the effects of fashion trends and fashion trend philosophies on the fashion world between 2010- 2019. Since 2000s in clothing fashion trends; Thanks to the currents that emerged for certain reasons in the past and the revision of the models created in the past years, they are not broken from the past and are connected to new periods. The concept of “design is Infinite” is emphasized by bringing new interpretations to past trends and trends with new technology and new design concepts. The reflections of Baroque art and 1990’s in today's fashion will be investigated.

Bagi orang-orang yang bergerak di bidang fashion mengetahui tren fashion adalah hal yang penting. Salah satu cara untuk mengetahui tren adalah dengan mendeteksi topik mengenai fashion yang dibicarakan di media sosial. Penelitian ini mengimplementasikan algoritma Latent Dirichlet Allocation untuk mendeteksi topik fashion di Twitter. Tweet yang didapat, diklasifikasi dengan metode Naive Bayes lalu dibersihkan dengan cara menghapus URL, simbol, angka dan merubah setiap kata menjadi huruf kecil. Tweet lalu dibentuk menjadi kumpulan kata dan dikelompokan dengan algoritma Latent Dirichlet Allocation. Berdasarkan hasil eksperimen, konfigurasi paramater 20 topik dengan 1000 iterasi memperoleh skor UMass terbaik dengan nilai -56.342, dan konfigurasi parameter 50 topik dengan 1000 iterasi memperoleh skor PMI terbaik dengan nilai 6.272.

The thesis is covering the description of a phenomenon, during which are alternative subcultures becoming sources of inspiration for creating new trends and ways of selling. The phenomenon contributes to the process of a transition of subcultures to dominant culture. This is a repetitive phenomenon, which underwent every significant subculture in history, some of them even repeatedly. The market undergoes constant search for new trends or ways to recycle old ones. The most common market sources are subcultures, which include in themselves the trend of brand new lifestyle and also frequently shocking or at least diverse fashion trends. Subcultures, which, as time goes by, fuse with the mass culture, are losing their characteristics, differences and the authenticity. They are becoming commodities, which are in the market with no other contexts, which are provided to them only within the subculture. Hip hop subculture is in currently very popular. It is bringing new communication means, styles and trends for decades. Since the hip hop subculture was born, it developed itself from the underground to the mainstream. Hip hop art and ideology was based on opposing the society and on the human right movement legacy. On the other hand, during last few years, according to some of the critics, it suffers from downing...

In this study, we will consider how the denim fashions seen within Japanese street fashion have changed from the postwar period to the present, with the goal of making clear how the meaning and significance of denim have transformed. When considering fashion phenomena, it is useful to grasp how, as an item of clothing is adopted and eras pass, the meaning of that item changes. This is useful because fashion itself is not the only thing that changes ; it is necessary to pick up on the ways in which, in each period, the various frameworks surrounding fashion, such as the values and technology of society and the people who enjoy fashion, also change. In order to consider such issues, we have endeavored to delineate who has worn what kinds of denim items, and when and how they wore them, all while taking into account the historical background of each era.It is well known that jeans, which are made of the material denim, were a kind of practical clothing worn by laborers and cowboys. However, they were adopted by certain specific groups of young people ― the rockers of the 1950s, mods of the 1960s, hippies of the 1970s, and others ― as a means of expressing their own stance as rebels who rejected adults and society. Nevertheless, since the 1990s, denim has become something worn by everyone regardless of age or gender, and it is now synonymous with casual fashion. On the other hand, denim's function of signifying the attributes of the people who wear it, and the identities associated with wearing it, have faded. It has become difficult to judge the values and positions of the wearer by their denim alone. The expression "so-and-so's denim," whether it refers to, among others, "the laborer's denim," "the hippy's denim," "the young person's denim," is no longer applicable to present-day denim fashions. And, in 2015, there has been a denim boom like never before in Japanese street fashion. Not wishing to stand out, everyone is wearing denim, resulting in this unprecedented boom. The cautious attitude of the youth aside, the way in which the meaning originally carried by denim has transformed is a decidedly unusual one.

Od ženskih časopisa sa krojačkim uzorcima do časopisa mode i stila sa milijunskim nakladama, modno novinarstvo naglim porastom u popularnosti danas predlaže, diktira i utjelovljuje stil. Zbog razgranatosti samog područja dolazimo do kolebljivosti oko definicije pojmova mode, stila i trenda. Modno novinarstvo oblikuje ženske živote u nedavnoj prošlosti te je i danas popularna interesna sfera velikom broju modno osviještenih, ali i onih manje, žena u modernom društvu. Odjeća te moda i stil koji se s njom pojavljuju danas su važan oblik izražavanja vlastitoga stila, karaktera i osobnosti. Uz sve liberalnije društvo i slobodu izražavanja, promjene u ponudi odjeće su česte te se stilovi individualaca učestalo mijenjaju zbog raznih trendova koja se šire kroz modno novinarstvo, društvene mreže isl. Čitateljima se nude najnovije informacije o modnim trendovima, zajedno sa prijedlozima i uputama modernog odijevanja i izražavanja vlastitog stila i osobnosti kroz odijevanje. Vogue se smatra modnom biblijom, dok se ostali časopisi pokušavaju definirati kroz manje tematske varijacije kako bi privukli specifičniju publiku. Kroz neinvazivne preporuke modni časopisi definiraju vlastiti stil i ženi predlažu, a ne nameću, varijacije u odijevanju koja ona sama bira održavajući vlastiti stil i izričaj, kroz informacije koje saznaje u modnim časopisima, koji su pak u suradnji sa modnom industrijom. From women's magazines with various tailoring patterns to fashion and style magazines with massive productions, fashion journalism with it's sudden growth in popularity dictates, suggests and embodies modern style. Due to various subjects in the field of fashion there's some uncertainty between the definitions of stlye, fashion and trend. Fashion journalism shaped everyday life for women in the recent past and is still to this day a subject of interest between women of various fashion interests. Clothing, and fashion and style that come with it, are important means of expressing your character and personality. With the society growing more liberal and with freedom of expression, various trends shape individual styles very commonly with the help of fashion journalism, social networks etc. The reader is offered latest information about fashion trends, paired with suggestions and guides about dressing fashionably and expressing your individuality and personality through the clothing. Vogue is considered the fashion bible, while the rest of the fashion magazines try to define their own style through thematical variations to attract a more specific audience. With friendly recommendations fashion magazines define their own style and suggest, not impose, variations in individuals styling by allowing the person to do their own picking while keeping their individual style and expression unhindered. This is done through information they learn in the fashion magazines, who are connected with the fashion industry creating a strong and inseparable alliance.

The thesis grounds that the laws of aesthetic and technology more and more influence the design and promotion of fashion products concerning the quality of mass consumption product, the economic laws, marketing and management in particular, have their more evident impact on them, all this creates a positive environment in the fashion industry for transnational concerns and corporations to strengthen their positions.Analyzing the main historic stages of fashion formation as an industry, it is important to say that the beginning ofthe XX century, on the one hand, the globalization processes were absent in its development in the world culture andeconomy, on the other hand, the common fashion tendencies of culture and art development (with insignificantvariations) dominated. The development of fashion product manufacturing in mass volume and the world universality of fashion tendencies resulted in informational structure development and total globalization of the world community at the middle of XX century.This is the very period for a split into two separate lines of fashion industry subjects’ activity, which, nevertheless, are developed in a close interaction and supplement one another to satisfy consumer needs for fashion products completely. These lines are typically called "haute couture" and "prêt-a-porte". Characterizing these lines by functional feature, one can admit that these are individual fashion samples designed on a high society demand (invarious senses of the term), and fashion clothes of mass production for a mass consumer.In the history of fashion industry development, the 1990s were marked by prevalence of the so-called pluralistictendencies that leveled the fashion supremacy of one or some correlated actual styles and fashion trends. Besides,engaged in fashion product design, the fashion industry subjects’ growing needs of profits and consumers’ needs inexpression of their own ambitions have caused a drastic shortening of fashion product life, a fast integration and spread of fashion innovations due to the mass media sources.The same principles of development, namely, the split of one modern standard into numerous fashion tendencies are observed in many other fields of fashion product market development in this period.By the end of XX century in the fashion industry a term "100 per cent marketing product" came into use, basedon cause effect relationship; it means that, as a rule, the over price of a produced fashion sample is explained by adegree of trend mark or designer brand popularity among mass consumers (that more and more depends on aggressiveness of advertising or PR policies of the products) and not by its quality (that decreases rapidly because of the fast moral wear of fashion product).It is impossible to forecast the way the short-term or long-term tendencies of fashion industry development willbe and the way they will reflect on fashion creators’ art project activity, the one definite thing is that fashion products, including fashion clothes, accessories, accompanying products and services always bring profit to their producers, conquer new mass sales markets and spheres of consumers’ lives. new mass sales markets and spheres of consumers’ lives.Moreover, the consolidation of fashion industry subjects remains the major tendency of development, influencing its functioning directly. Large transnational corporations extend the spheres of their influence constantly, forming the fashion industry infrastructure globally this way and facilitating the separation of fashion market segments, and eliminating a competition in fashion business as such.Besides its typical function of promoting fashion products and services onto mass market, at the current stage ofdevelopment the advertising of the fashion industry has acquired one more important to the fashion process participants function of consumers’ tastes modeling, formation of certain fashion tendencies and stipulating the need in fashion innovations.In other words, fashion products exposed for sale in shops, possessing the high status qualities, acquire a valueof cult products in customer’s eyes, meaning a fusion of the mass culture characteristics with mass consumption.The article analyses the fact that the fashion process participants’ behavior is directed not only to mass consumption of fashion industry products, but also to the formation of contemporary art and general culture distinctive features, to a sensitivity to art and aesthetic education of a mass consumer.It follows from this, that a total globalization of society, which becomes stronger every day, contributes not onlyto culture direct impact on tendencies of contemporary fashion development, creation and spreading of fashionstandards, but it also participates in the fashion products design process, universal for different segments of fashionmarket, regional markets first of all.All the named preconditions (technology, economic and cultures ones) of mass consumption society establishment have led to the fact that high society representatives, who were the only bearers and consumers of modern samples and art innovations before, turned out to be involved in the process of mass consumption because they had to find out and try constantly different fashion innovations to demonstrate their status and social position.On the basis of the mentioned above arguments and facts, the article has outlined characteristics and comparison analysis of principles of fashion clothes industry formation in the context of modern mass consumption society establishment, as well as the definition of the criteria of mutual influence and cause effect basis of evolution ofthese definitions in the modern society subjects’ consciousness.To sum it up, the thesis concludes that a fashion industry birth and development are closely connected with mass consumption society establishment in the XX century., В статье рассматриваются принципы развития массового производства модных продуктов, а также всемирная универсальность модных тенденций, которые являются результатом развития информационной инфраструктуры и тотальной глобализации мирового сообщества. Обосновывается, что продукты моды, выставленные для продажи в магазинах, имеющих свойства повышенного статуса, в глазах покупателя приобретают значение культурных ценностей, подразумевающих слияние характеристик массовой культуры и массового потребления. Сделано вывод, что зарождение и развитие индустрии моды тесно переплетается со становлением общества массового потребления., У статті розглядаються принципи розвитку масового виробництва модних продуктів, а також всесвітня універсальність модних тенденцій, які є результатом розвитку інформаційної інфраструктури і тотальної глобалізації світової спільноти. Обґрунтовується, що продукти моди, виставлені для продажу в магазинах, що мають властивості підвищеного статусу, в очах покупця набувають значення культурних цінностей, що мають на увазі злиття характеристик масової культури і масового споживання. Зроблено висновок, що зародження і розвиток індустрії моди тісно переплітається із становленням суспільства масового споживання.

En este proyecto final de grado se pretende demostrar la influencia del cine en la moda. Concretamente nos hemos centrado en la moda masculina, un mundo desconocido para muchos pero que absorbe rápidamente las tendencias proyectadas en el cine. Se ha elegido como época de referencia una cercana y que a la vez haya tenido repercusión en el tiempo, por ello, los años 90 son nuestra década de estudio. El análisis de tres de las películas más influyentes en las tendencias masculinas y su posterior influencia en la sociedad conforman el núcleo de este trabajo., In this work the main aim is to demonstrate the influence of the cinema in the fashion, specifically in the men's fashion. It is an unknown world for a lot of people but very related with the cinema. For that, we have chosen the 90's in order to be more concise and also close to our society. It has been analyzed three of the best movies in this time and how they have influenced in today's fashion.

In Modernity fashion system behaves like a social engine driven by the pursuit of innovation, shown by appearance and linked to desire, pleasure, power relations and social tensions. Therefore, this study intends to analyze the construction of a Brazilian fashion identity towards the international market, focused on differentiation and innovation through the character of Carmen Miranda and her “baiana”. It defines the concept of trends and targeting behaviors. It approaches the formation of a Brazilian identity focused on the market and Carmen Miranda as a symbol of this trend. It debates the appropriation of Carmen Miranda’s image by fashion system at a recent period (2009-2011), when her image becomes an icon of a fashion trend and symbolizes an identity for the market, confirmed by Prada’s spring/summer 2011 Collection. The research was carried out from broadcasted images of Carmen Miranda and records of its appropriation in fashion, literature, print and digital media, and virtual collections. Na modernidade o sistema de moda se porta como um motor social instigado pela busca da inovação, que acontece pela dimensão da aparência e esta atrelada a desejos, prazer, relações de poder e tensões sociais. Neste trabalho, portanto, pretende-se analisar a construção de uma identidade de moda brasileira voltada ao mercado internacional, que buscando a diferenciação e inovação se apoia na figura de Carmen Miranda e de sua baiana. Define o conceito de tendências e o direcionamento de comportamentos de consumo. Trata da constituição de uma identidade brasileira voltada para o mercado e de Carmen Miranda como símbolo dessa tendência. Discute a apropriação da imagem de Carmen Miranda pelo sistema de moda num período recente (2009-2011), quando sua imagem se torna ícone de uma tendência de moda e simboliza uma identidade de mercado, confirmadas pela coleção Prada spring/summer 2011. As pesquisas realizadas partiram de imagens difundidas de Carmen Miranda e dos registros de sua apropriação na moda, da literatura disponível, da mídia impressa e digital, e dos acervos virtuais.