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ARE WE REALLY CHANGING? The environmental impact of production and consumption systems is central to any contemporary conversation about fashion and design. b games virus After more than 25 years of debate, suspicion and indecision, companies are slowly rising to the challenge of creating sustainable products. The question is: why did it take so long to arrive at this point and can the industry really get it to work right through the textile platform? The reason behind this change of heart lies in the combination of a top-down approach by governments across the world, enforcing an environmental agenda embracing everything from plastic drinking straws to air and water pollution, with a groundswell of public opinion demanding and taking action on everything from fracking to fur. The anvil of consumer pressure is reflected not just in demands for transparency but also in the rise of veganism, company boycotts, interest in ethical indexes and, most significantly, in the past few months, decelerated consumption, the reasons for which go far beyond questions of austerity and economy. And this pressure will only grow as Generation Z joins the ranks of the Millennials in the push for ‘responsible’ living. Their heroes are not high-street multiples or status-laden brands but change leaders such as Stella McCartney, who have placed ‘guilt-free’ principles at the heart of their brands. But, McCartney is not alone. More and more companies are seeing that sustainability and environmental awareness make sense not only morally but also economically. 3 main gas laws That’s not just because of possible savings in energy, water and processing costs, but also because sustainability is an asset to long-term corporate image and market value.

AUTUMN 2018 COMPOSED After 25 years of trying, the fashion world has suddenly woken up to the imperatives of sustainability, environmental control, wastage and recycling. Technology and synthetics were seen as the enemy, the propagators of stuffocation and fast obsolescence. But not anymore! If we are to really confront the terrible impact of consumption, then we not only have to tackle sustainability and recycling issues in the processing and manufacturing stages but combine them with winning aesthetics at the design stage. electricity related words To do this, we need to believe in innovation and technology as much as reduction and recyclability as the ways forward to what we most love and aspire to, to fabrics that are desirable, inclusive and serviceable and garments that make us look beautiful. As we say in our Fabric Preview S/S 2020, where we list nine ways to achieve this, we should never forget that its aesthetics that really enable us to connect with what we wear. Technology provides the freedom to create anything we want: our values set the boundaries to make it human and sustainable. electricity and magnetism study guide 8th grade It’s a wonderful new combination, as we set out to show in our Lifestyle pages, ‘The Next Phase in Making and Creating’.

The most talked-about collaboration of the moment is the appointment of Virgil Abloh, the founder of streetwear sensation Off-White, as men’s artistic director of Louis Vuitton. This encapsulates the massive change taking place in fashion at the moment and shows how luxury brands are looking to the cultural energy and business model of streetwear to stay relevant.

The question everyone is asking is whether all this truly heralds a new age of luxury streetwear, permanently changing our understanding of clothes. Certainly a ‘Millennial mindset’ is taking hold across the luxury market. Generations Y and Z are now the main growth engine of that market, driving 85% of luxury expansion last year, according to Bain & Company. By 2025, they are expected to account for 45% of total luxury goods spending. gas in california Each generation has its cultural touchstones and Millennials are clearly more in tune with hip hop than red-carpet glamour. They want brands that reflect what they consider more authentic cultural associations.

What’s more, these generations were brought up on the internet; they live a socially networked life which streetwear, with its graphic visual approach and irony, can so much better reflect than formal fashion. We are also living in the age of drop marketing, with its constant flow of new product releases: street and athleisure are much better at providing a stream of novelty at Instagram speed than traditional luxury fashion. Most important of all, streetwear exists within a culture of collaboration, and collaboration models are one of the biggest factors driving innovation at the moment.

We have crossed the frontier. 2018 will see major growth in the use of Artificial Intelligence as a tool to re-shape the fashion business with major AI innovations to be expected in predictive forecasting, capacity planning, merchandising, automated production and delivery. However, the possibilities with AI go much further than that as developments move its potential way beyond the mechanical into the creative. For example, Amazon is on the verge of creating the first AI designer, with the development of an algorithm that designs clothes by analysing images, copying popular styles and using them to build completely new designs. online electricity bill payment Meanwhile, enriched data will allow for new opportunities in customer relationship management, improving customer insights and, last but not least, much more reliable demand projection thereby reducing forecasting errors. Twenty percent of executives who took part in the Business of Fashion-McKinsey Global Fashion Survey believe that the use of AI to “reinvent design, merchandising and marketing” will be an important trend. 6 gas laws However, there is still a significant number who remain dubious about AI’s lack of flexibility and intuition for it to be a major player in fashion’s deep creative process. This division of thinking is at the forefront of our A/W 19/20 forecasts where we ask the question: “Should the fashion industry be led by algorithms?” and make a strong case for accidental fashion. Above all, we look at fabrics as tools serving fashion as a whole, enabling designers as well as users to mash up looks, to create their own interpretation of garments.

They called Rei Kawakubo’s exhibit at the Metropolitan Museum of New York “The Art of the In-Between” and that’s exactly where we are in fashion and textiles at the moment. Of course, fashion is always in a state of flux otherwise it wouldn’t be fashion, but the changes we are looking at, now, are far more radical and convulsive than anything seen before.Technical innovation, digitalization, individualisation and democratisation are coming together for the ‘perfect storm’ that will tear down all the existing structures around which we plan, time and create textiles. We are stepping into a new moment of fashion freedom built around the unexpected and accidental.What’s interesting is that it is the haute couture, once the bastion of convention par excellence, that is pointing the way. There, we have already seen a breaking down of barriers, not only in who attends the couture shows but in the way France’s Chambre Syndicale has invited a roster of new names onto the official schedule in a bid to inject a more global viewpoint into the exalted world of haute couture. We also saw a breaking down of barriers in the clothes shown on the runways, with denim and sportswear, even recycled effects, popping up alongside the exquisite handcrafted gowns and luxe furs, which are the hallmark of the traditional couture ateliers. electricity font generator The doors are truly opening onto a brave new world!

They called Rei Kawakubo’s exhibit at the Metropolitan Museum of New York “The Art of the In-Between” and that’s exactly where we are in fashion and textiles at the moment. Of course, fashion is always in a state of flux otherwise it wouldn’t be fashion, but the changes we are looking at, now, are far more radical and convulsive than anything seen before.Technical innovation, digitalization, individualisation and democratisation are coming together for the ‘perfect storm’ that will tear down all the existing structures around which we plan, time and create textiles. We are stepping into a new moment of fashion freedom built around the unexpected and accidental.What’s interesting is that it is the haute couture, once the bastion of convention par excellence, that is pointing the way. There, we have already seen a breaking down of barriers, not only in who attends the couture shows but in the way France’s Chambre Syndicale has invited a roster of new names onto the official schedule in a bid to inject a more global viewpoint into the exalted world of haute couture. We also saw a breaking down of barriers in the clothes shown on the runways, with denim and sportswear, even recycled effects, popping up alongside the exquisite handcrafted gowns and luxe furs, which are the hallmark of the traditional couture ateliers. The doors are truly opening onto a brave new world!