V U N H U A N H

P R O P O S A L

F A S H I O N H I S T O R Y

R E S E A R C H
 PATHWAY:
FASHION FORECASTING

TOPIC:
FASHION TRENDS
RESEARCH

DIRECTION:
FASHION TRENDS
ANALYSIS AND FASHION
TECHNOLOGY RESEARCH
 A E T H E S T I C S O F L I F E

C O N T I N U I N G E D U C A T I O N

C L I M A T E C H A N G E

D I G I T A L T R A N S F O R M A T I O N

W A R & P E A C E

F I G H T I N G F O R W O M E N ' S
P O W E R

P O L I T I C A L
C O R R U P T I O N

WORLD TRENDS
E C O N O M I C R E C E S S I O N

S T A Y A T H O M E

T A K I N G C A R E
A D V A N C E M E N T
O F
T E C H N O L O G Y

C O N V E N I E N C E

D I S E A S E

H E A L T H C E N T R I C
 CONCENTRATIONS
I M M I G R A T I O N , W A R S , S E P E R A T I O N ,
S E T T I N G U P A N E W L I F E

M I G R A T I O N I N F L U E N C E O N C U L T U R E S ,
A R T S A N D F A S H I O N

L O N E L I N E S S A N D L O S T
P S Y C H O T E X T I L E S : T H E U S E O F T E X T I L E S
F O R P S Y C H O T H E R A P Y

T E C H N O L O G I C A L E X P A N S I O N

M E T A V E R S E F A S H I O N A N D T H E U S E O F A I
I N F A S H I O N P R O D U C T I O N W I L L B E I N
H I G H D E M A N D
MODERN
FASHION
TRENDS
ANALYSES
A F T E R A R E C E N T
S U R G E I N
N A T I O N A L I S M A N D
X E N O P H O B I A D U R I N G
B R E X I T A N D T R U M P
P R E S I D E N T I A L
P E R I O D , A
M U L T I P O L A R I Z E D
W O R L D P U S H E S A N D
P U L L S T H E T R E N D O F
M I G R A T I O N S .
H O W E V E R T H I S T R E N D
I S U N S T O P P A B L E

M A N Y A R T I S T S A N D
D E S I G N E R S S T A R T E D
T O M E R G E T H E I R
N A T I V E C U L T U R E S
W I T H T H E C U L T U R E S
O F T H E C U R R E N T
F A S H I O N W A S U S E D A S A V O I C E L A N D S W H I C H T H E Y
T O C A L L O U T T H E I N J U S T I C E R E S I D E I N .
D O N E T O I M M I G R A N T S A F T E R T H E
B R E A K I N G U P O F M A N Y
C O U N T R I E S . I N F E B R U A R Y 2 0 1 7 ,
F O L L O W I N G T R U M P ’ S T R A V E L B A N , S O U R C E : “ I A M A N
I M M I G R A N T ” : F A S H I O N ,
O N T H E O C C A S I O N O F N E W Y O R K I M M I G R A T I O N A N D
F A S H I O N W E E K , R E P R E S E N T A T I V E S B O R D E R S I N T H E
G R O U P U P T O G E T H E R T O M A K E A C O N T E M P O R A R Y T R A N S -
G L O B A L L A N D S C A P E
V I D E O D I A R Y .
 T H E M I G R A T I O N O F C U L T U R E
T H R O U G H A R T S A N D F A S H I O N

THE IDEA OF FASHION

MIGRATION HAS BEEN TOUCHED
BY MANY SCHOLARS AND
FASHION EDITORS AROUND THE
GLOBE.

TIE-DYE DERIVED FROM A JAPANESE FABRIC DYING

TECHNIQUE CALLED SHIBORI WHICH TRAVELED TO
CHINA IN THE 8TH CENTURY AND BECOME GLOBALLY
RENOWNED FOR THE HIPPIE STYLE.

IN 2016, A FASHION EDITOR AND LECTURER IN

AMD ACADEMY OF FASHION AND DESIGN
BERLIN HAS PUBLISHED A BOOK ABOUT THE
ENORMOUS INFLUENCE MIGRATION HAS ON
FASHION WHICH CREATES BOTH STRUGGLES
AND OPPORTUNITIES FOR THE CREATIVE
INDUSTRY: FASHION SECTOR.

IN 1920S, WHEN ITALIANS SETTLED DOWN IN NEW

YORK, FASHION ALSO PLAYED A PIVOTAL ROLE IN
THE PROCESS OF SHIFTING CULTURES. FASHION
THEN WAS USED AS AN EMBODIMENT FOR THE
COLLECTIVES IDENTITIES OF ITALIAN AMERICANS
F A S H I O N T R A C E S : T H E H U G E
I M P A C T O F M I G R A T I O N O N
F A S H I O N

ASIAN HERITAGE DESIGNERS YOHJI YAMAMOTO

JASON WU, RICHARD CHAI,
ALEXANDER WANG.

HAIDER ACKERMANN
AZZEDINE ALAÏA
(TUNISIAN DESIGNER) (COLUMBIAN-FRENCH
DESIGNER)
 I T A L I A N F A S H I O N P O R T R A I T S
T H R O U G H M A R T I N S C O R S E S E '
M O V I E S

COSTUME DESIGNER SANDY

POWELL SAID THAT"IT WAS
APPARENT EARLY ON THAT MARTY
HAD A VAST KNOWLEDGE OF
FASHION HISTORY,". HE WAS VERY
CAREFUL WITH HIS CHOICE OF
CLOTHES ON ALL CHARACTERS IN
HIS WORK: CHOOSING CLOTHES
FROM ITALIAN TAILOR-MADE
CLOTHES IN LITTLE ITALY, NY.

JOE PESCI, RAY LIOTTA AND ROBERT DE NIRO IN "GOODFELLAS" (1990)

AVID PROVAL, ROBERT DE NIRO AND

HARVEY KEITEL IN 1973'S "MEAN
STREETS".SARAH C. BYRD, A FASHION
HISTORIAN AND ARCHIVIST, SAID OF
"MEAN STREETS." THE FILM "OFFERS
EXAGGERATED NOTIONS OF MASCULINITY,
POWER, AND THE SUITS WERE LIKELY
MADE BY A HIGHLY SKILLED TAILOR."

FILM DIRECTOR MARTIN SCORSESE'S

PARENTS IN HIS SHORT FILM,
"ITALIANAMERICAN." DRESSED IN
CONTEMPORARY ITALIAN AMERICAN
CLOTHES.
 MODERN
FASHION
TRENDS
ANALYSES
J E S S I C A H E M M I N G S
D I S C U S S E S T H E P O R T A B I L I T Y
O F T E X T I L E S A N D I T S
H Y B R I D P O S I T I O N W I T H I N
T H E W O R L D S O F C R A F T ,
D E S I G N A N D A R T , S H E
E X P L O R E S H O W E A S I L Y T H E Y
M O V E A R O U N D T H E G L O B E ,
F R O M T H E I R P R O D U C T I O N
T O T H E I R C O N S U M P T I O N .
 M I G R A T I O N S : T H E P O R T A B I L I T Y
O F T E X T I L E S

JASLEEN KAUR
LORD ROBERT NAPIER
‘THE MAIN FOCUS IN MY WORK IS DESIGN AS A
CULTURAL UNIFIER,’EXPLAINS SCOTTISH-INDIAN
DESIGNER JASLEEN KAUR. IN THEPHOTOGRAPHIC
SERIES THAT RECORDS THE STAGING OF THE
DEARLORD ROBERT NAPIER
PROJECT KAUR DOCUMENTS HER REQUESTTO TIE A
TURBAN, WITH HER SIKH FATHER’S ASSISTANCE, ON
THEHEAD OF THE CURRENT LORD ROBERT NAPIER.
LORD NAPIER’SGRANDFATHER – SIR ROBERT NAPIER
– OCCUPIED A CENTRALROLE IN THE BRITISH
ANNEXATION OF THE PUNJAB WHICH,AS KAUR
EXPLAINS, “HELPED TO OPEN UP THE
MIGRATORYRELATIONSHIP BETWEEN INDIA AND
BRITAIN THAT ENABLEDMY SIKH GREAT
GRANDFATHER TO COME TO BRITAIN.”

F R A N Ç O I S E D U P R É
LONDON-BASED FRENCH-BORN ARTIST
FRANÇOISE DUPRÉ’SMATERIAL OF CHOICE –
LARGE PLASTIC CARRIER BAGS –
ARECONTROVERSIALLY KNOWN AS “GHANA-
MUST-GO BAGS”AFTER THE 1983 EXPULSION
ORDER THAT GAVE ILLEGAL IMMIGRANTS
(OFTEN GHANAIAN WORKERS) 14 DAYS TO
LEAVENIGERIA. DUPRÉ NOTES THE UBIQUITY
OF SIMILAR CARRIERBAGS IN THE
MULTICULTURAL EIGHTEENTH
ARRONDISSEMENTOF PARIS WHERE SHE
SPENT HER CHILDHOOD AND ADOPTS THE
FABRIC FOR THE NARRATIVES OF
MIGRATION AND MOVEMENT OF LABOUR
THE MATERIAL COMMUNICATES.
PSYCHOTEXTILES

“ V I S U A L
M E D I C I N E ”

BY USING A SMART FABRIC, IT MEANS SOMEONE

COULD CHOOSE A PATTERN TO ACHIEVE A PARTICULAR
EMOTION – CLOTHES THAT LIFT YOUR MOOD OR CALM
YOU DOWN.IT COULD BE A KIND OF “VISUAL
MEDICINE” THAT BECOMES AN ALTERNATIVE TO THE
LIKES OF ANTIDEPRESSANTS. EQUALLY IT MIGHT
TRANSFORM PRODUCT MANUFACTURING, ENGINEERING
AND THE TEACHING OF ART AND DESIGN. IN FUTURE
WE MIGHT TALK ABOUT PSYCHOART,
PSYCHOINTERIORS, PSYCHOMATERIALS AND
PSYCHOARCHITECTURE, TO NAME ONLY A FEW.

JO ADETUNJI
EDITOR, THE
CONVERSATION
UK
 METAVERSE
FASHION
V I R T U A L F A S H I O N W E E K

THE METAVERSE IN THE

FASHION INDUSTRY IS
CHANGING THE WAY WE
EXPERIENCE FASHION. IT IS
TRANSFORMING THE FASHION
INDUSTRY BY CREATING NEW
WAYS FOR FASHION BRANDS TO
ENGAGE WITH CUSTOMERS,
GENERATE REVENUE, AND
SHOWCASE THEIR
PRODUCTS.VIRTUAL FASHION
SHOWS ARE ALSO MORE
INCLUSIVE, ALLOWING
CUSTOMERS FROM AROUND
THE WORLD TO EXPERIENCE
THE EVENT IN REAL-TIME.
THESE SHOWS ARE AS WELL
COST-EFFECTIVE, AS THEY DO
NOT REQUIRE EXPENSIVE
VENUES, MODELS, OR OTHER
RESOURCES.

N F T S I N F A S H I O N
NFTS, OR NON-FUNGIBLE TOKENS, ARE
DIGITAL COLLECTIBLES THAT ARE CREATING
A NEW REVENUE STREAM FOR FASHION
BRANDS. NFTS IN FASHION ARE UNIQUE
AND AUTHENTIC DIGITAL ASSETS THAT CAN
BE OWNED, TRADED, AND SOLD LIKE
PHYSICAL COLLECTIBLES. BRANDS ARE
CREATING LIMITED-EDITION NFTS THAT ARE
TIED TO PHYSICAL PRODUCTS, CREATING
NEW WAYS FOR CUSTOMERS TO INTERACT
WITH THEIR FAVORITE BRANDS. NFTS ARE
SHIFTING THE WAY WE EXPERIENCE
FASHION BY ALLOWING DESIGNERS AND
BRANDS TO CREATE UNIQUE AND
AUTHENTIC DIGITAL COLLECTIBLES. THESE
DIGITAL COLLECTIBLES ARE ALSO A NEW
WAY FOR FASHION BRANDS TO GENERATE
REVENUE, WITH SOME ASSETS SELLING FOR
MILLIONS OF DOLLARS.
THE USE OF AI IN
FASHION
PRODUCTION
M A N U F A C T U R I N G
A P P A R E L W I T H A I

ONE AREA OF APPAREL MANUFACTURING WHERE AI

IMPROVES QUALITY CONTROL (QC) IS GRADING
YARN AND OTHER BASE MATERIALS.
APPLYING ARTIFICIAL INTELLIGENCE TO THIS AREA
RESULTS IN COST SAVINGS AND MORE PRECISE
GRADINGS OF THE FUNDAMENTAL MATERIALS USED
IN APPAREL MANUFACTURING. IN OTHER WORDS, AI
CAN UPHOLD A HIGHER AND MORE CONSISTENT
STANDARD FOR MATERIALS THAN HUMANS CAN
ALONE, THEREBY RAISING THE AVERAGE QUALITY
OF FINISHED GARMENTS.

D E S I G N I N G
A P P A R E L W I T H A I

AN AI ARTIST VIEWED THAT AI IS AN IMPORTANT TOOL

FOR DESIGN AS HE BELIEVES THE TECHNOLOGY DOESN’T
TAKE AWAY FROM THE ARTIST BUT INSTEAD ENHANCES
THEIR CREATIVE POTENTIAL. HE ADDED: “THE ABILITY TO
RAPIDLY GENERATE LARGE GROUPS OF IMAGES MAKES
INITIAL CONCEPT STAGES HIGHLY PRODUCTIVE AND
PUSHES OUR OWN IDEAS BEYOND WHAT THEY COULD
HAVE BECOME OTHERWISE. I WOULD LIKE TO SEE AI
DESIGN TOOLS IN THE DEMOCRATISATION OF THE
DESIGN PROCESS. THROUGH THIS, WE WILL SEE THE
ROLE OF THE DESIGNER AND CONSUMER BLUR INTO
ONE. AS FASHION IS VERY MUCH A TOP DOWN
INDUSTRY, THIS BLURRING OF ROLES COULD LEAD TO
SOME VERY EXCITING POSSIBILITIES.”
THE USE OF AI IN
FASHION
DISTRIBUTION
U S I N G A I T O G A T H E R D A T A
A N D M A N A G E A S S E T S

THERE ARE CONSIDERABLE BENEFITS WHEN AI

POWERS AUTOMATED MATERIAL-HANDLING ASSETS IN
CLOTHING FACTORIES AND DISTRIBUTION CENTRES.
EVEN THE ABILITY TO AUTOMATE THE
TRANSPORTATION OF RAW MATERIALS FROM ONE
AREA OF A FACTORY TO ANOTHER – FROM STORAGE
TO PACKAGING, FOR EXAMPLE – COULD DELIVER
CONSIDERABLE TIME AND SAFETY BENEFITS.

THE ABILITY OF AI TO WORK ALONGSIDE HUMANS

AND ENGAGE IN SAFE PATH-FINDING THROUGHOUT
MODERN FACILITIES CAN ENHANCE BUSINESS
PRODUCTIVITY, EFFICIENCY AND PRODUCTIVITY IN
NUMEROUS WAYS:

INCIDENT-FREE, SAFE TRANSPORTATION

THROUGHOUT WAREHOUSE SPACES
REDUCED TIME-TO-COMPLETION FOR CRITICAL
TASKS
DAMAGE-FREE TRANSPORTATION OF RAW MATERIALS
AND FINISHED GOODS
REDUCED LIKELIHOOD OF SAFETY INCIDENTS AND
DAMAGE TO FACILITY STRUCTURES
FASTER MOVEMENT OF GOODS AND MORE EFFICIENT
OPERATIONS OVERALL

E N H A N C I N G T H E R E T A I L E X P E R I E N C E
W I T H A I

AI CAN ALSO PROVIDE INSIGHTS INTO

SHOPPING BEHAVIOURS AND PREFERENCES,
ALLOWING RETAILERS TO CREATE A MORE
ENGAGING AND PERSONALISED SHOPPING
EXPERIENCE. ON TOP OF THAT, AS WE
MOVE INTO THE METAVERSE AND VIRTUAL
REALITY SCENES, TOOLS ARE BEING
DEVELOPED TO ALLOW CUSTOMERS TO SEE
HOW THE CLOTHING WILL LOOK ON THEM
BEFORE MAKING A PURCHASE.