The Dictionary of Fashion History

Cumming, Valerie; Cunnington, C. W.; Cunnington, Phillis Emily

doi:10.5040/9781474269728

Cited by 5 publications

(3 citation statements)

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“…The wearing of camel hair clothing is mentioned in the Bible (Matthew 3:4), and it was traditionally used for tents, carpets, and cloaks by the Berbers and in other areas where camels were kept [77]. Pure camel hair is recorded as being used for western garments from the 17th century onwards, and from the 19th century on a mixture of wool and camel hair was used [78]. The first fashion brand to popularize camel hair in clothing was Jaeger, a British manufacturer that specialized in the use of fine woolen fabrics for coats and suits [79].…”

Section: Fibrementioning

confidence: 99%

Camelids for Sustainability: A Socio-Economic Perspective

Kishore,

Pal,

Sarkar

2024

AJEE

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The Camelidae family includes the Old-World camelids, represented by the Dromedary (one-humped) camel (Camelus dromedarius) and Bactrian (two-humped) camel (Camelus bactrianus), as well as the New-World camelids, also known as South American camelids (SACs), which consist of Llama (Lama glama), Alpaca (Lama pacos), Guanaco (Lama guanicoe), and Vicuña (Vicugna vicugna). Known for their resilience, camelids exhibit specialised anatomical, physiological, and behavioral adaptations that enable them to thrive across a spectrum of challenging environments—from arid deserts to the elevated Andean highlands. Apart from being an intertwined part of cultural heritage, camelids emerge as vital economic contributors for local communities, providing invaluable resources such as fibre, milk, and meat, thereby playing a central role in the economic well-being of these regions. Amidst the escalating effects of climate change, with conventional agriculture and livestock production becoming virtually impossible, these miracle species are emerging as the centrepiece of global interests. This paper aims to promote awareness of the crucial roles played by camelids by investigating their inherent connection with the traditions and heritage of indigenous communities while also examining their contribution for ensuring sustainable economic growth and food security.

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Section: Fibrementioning

confidence: 99%

Camelids for Sustainability: A Socio-Economic Perspective

Kishore,

Pal,

Sarkar

2024

AJEE

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“…Lace is a ubiquitous textile product on the streets and alleys [1]. As a product with artistic color, lace is different from other products with practicality, and people pay more attention to whether lace has a beauty that meets their own standards.…”

Section: Introductionmentioning

confidence: 99%

SStyleGAN: a StyleGAN model for generating symmetrical lace images

Li,

Zhong,

Chen

2024

International Conference on Computer Graphics, Artificial Intelligence, and Data Processing (ICCAID 2023)

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Lace texture, as a manually designed texture image, needs to possess a series of essential aesthetic characteristics, such as periodicity, symmetry, and blank-leaving in artistic design creation. It requires human designers to spend a lot of time and effort, so it is necessary to apply generative models to generate lace images. In image generation tasks, compared to models such as DCGAN, CycleGAN, and ProGAN, although images generated using StyleGAN2 perform well in terms of resolution, texture details, and periodicity, they still perform poorly in terms of symmetry in lace images. To address the above issues, this article proposes an improved model SStyleGAN (Symmetry StyleGAN) based on StyleGAN2. In terms of discriminators, in order to enhance the attention of the proposed model to image symmetry, we have added a symmetry discriminator, that is, SStyleGAN adopts a dual discriminator structure; In terms of generator, in order to improve the similarity of the feature maps on the left and right sides of the lace image, this paper adds a mean square error loss term based on the loss function of StyleGAN2; In terms of noise input, in order to control the symmetry of the lace image at details such as lace edges, the noise of the StyleGAN2 model is modified to a symmetrical structure, so that the noise input itself has symmetry. In addition to the commonly used FID (Fréchet Insertion Distance) in the generative model, we also used the SSIM (Structural Similarity) metric for the evaluation of the experimental results in this article to detect the symmetry of the generated images. The experimental results show that compared to the lace images generated by the StyleGAN2 model, the lace images generated by the model proposed in this paper not only inherit the advantages of the former, but also have symmetry characteristics.

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“…Ceramic artists who usually engage in production and sales of artefacts contribute their quota to economic growth of the nation (Chester, 2003). Cumming et al (2017) define fashion as 'the process of making something, creating a particular shape or style' .Fashion is about expressing ones identity, showing someone who you are through your clothing choices and using your clothes to tell someone something about you. A fashion designer is someone who loves to study fashion trends, sketch designs, select materials, and have a part in all the production aspects of their designs (African Development Bank Group Report, 2012).…”

Section: Introductionmentioning

confidence: 99%

Financing Ceramic Artists and Fashion Designers in Small and Medium Scale Enterprises (SMEs) in Sekondi-Takoradi, Ghana

Mefful,

Asante-Kyei,

Mefful

2023

IJSBER

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Small and Medium Scale Enterprises (SMEs) face numerous financial challenges in their contribution towards the socio-economic development in Ghana. As a result, most ceramic artists and fashion designers in SMEs often are confronted with global economic crisis and are unable to grow their businesses to become big firms. The general objective of the study was to investigate the funding challenges facing Ceramic Artists and Fashion designers who owned small and medium scale enterprises in Ghana as well as examined what could be done to help mitigate these challenges. The study adopted purposive sampling technique to select forty (40) respondents comprising twenty (20) ceramic artists and twenty (20) fashion designers who owned SMEs within Sekondi -Takoradi Metropolis. Questionnaires and interview schedules were developed and used to collect data from the sampled ceramic and fashion enterprises. Statistical techniques such as mean and percentages were used to analyze the data collected while descriptive analysis was used to generate graphs, charts and tables. It was established that some of the financial challenges facing ceramic artists and fashion designers in Sekondi-Takoradi metropolis included financial constraints such as raising capital in starting the business, lack of collateral, the fear of taking risk, high cost of lending, the demand for collateral by banks and micro finance as well as the delay in the processing of loans to access credit. The study concluded by recommending among others that, loan acquisition processes could be shorter and simple. Additionally, low interest and financial training could be given to the ceramic artists and fashion designers to aid them in keeping proper financial records so as to sustain their art businesses.

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The Dictionary of Fashion History

Cited by 5 publications

References 0 publications

Camelids for Sustainability: A Socio-Economic Perspective

Camelids for Sustainability: A Socio-Economic Perspective

SStyleGAN: a StyleGAN model for generating symmetrical lace images

Financing Ceramic Artists and Fashion Designers in Small and Medium Scale Enterprises (SMEs) in Sekondi-Takoradi, Ghana

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