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This study aims to provide insights to designers for seeking innovative ways to design sustainable clothes and appeal to consumers by enhancing sustainability.

To achieve the research purpose, the researchers went through a design process and designed three prototypes. The experts’ evaluation on the prototypes was positive.

Various design strategies derived from the Korean traditional costume were explored. Based on the strategies, three prototypes were developed, and the design experts’ evaluation on the prototypes was positive.

The research has implications as follows. The sustainable design process and methods used in this research for developing designs inspired from cultural costumes will provide insights to designers who want to create sustainable garments inspired by a certain culture. In addition, the design and sustainable design strategies, derived from the Chosun Dynasty, will guide apparel designers to create sustainable designs and broaden their perspectives. Furthermore, the research will provide guidance to following researchers who are interested in the topic of sustainability in apparel design. The researchers explored sustainable design strategies from the Korean culture, applied them in their design process and evaluated the design outcomes. By doing so, merits and limitations of the design strategies were more clearly understood.

A family business founded by Chinese immigrants grew into a $133 million toy and costume maker by exploiting seasonal niche segments in the highly competitive, global toy industry. Sales of traditional toys stagnated when replaced by game consoles and electronic toys. Unable to compete in high tech toys, MegaToys moved instead toward seasonal products. In 2007, brothers Peter and Charlie Woo were about to pitch what they hoped would be $63 million in Easter basket sales to Wal-Mart. If Wal-Mart took the full order, it would come to represent over half of MegaToys' revenue.

The company was faced with the dilemma of how to grow, and at what pace. Charlie Woo knew that MegaToys could continue to grow as long as it was able to satisfy Wal-Mart's demands. Peter Woo wondered if this was the smartest way to grow the business. “Growth is a good thing as long as you don't sell your shirt to get it,” he noted. Should MegaToys continue to increase its sales to Wal-Mart, or would dependence on Wal-Mart eventually threaten the firm's success? Were there other, untapped opportunities for MegaToys that were well aligned with its strengths, resources, and capabilities?

The aim of this study is to explore the information needs and behaviors of practicing theatre artists. Psychological research into creativity provides a framework for understanding both theatre artists' information‐seeking behavior and the role of information seeking and gathering in the creative process.

The exploratory study presents findings from an online questionnaire of 73 practicing theatre artists and qualitative data gathered from eight interviews with theatre professionals.

The study reveals that theatre artists seek information for six primary purposes: understanding a work's historical, cultural, and critical background; finding sources of inspiration; learning about contemporary or historical theatre productions, artists, and events; learning technical or process information; finding performance materials; and furthering career goals. Theatre artists view the information search process as being essential to their creative activities, and their first‐hand accounts of their artistic experiences illuminate the critical role that information seeking and gathering play in the creative process.

Some theatre professions, such as lighting or sound design, were represented in the questionnaire but were not represented in the interviews.

The study has practical implications for the delivery of library and internet theatre art collections and information services.

Few studies have examined the information‐seeking behavior of practicing theatre artists. The paper demonstrates that studies of artists can be used to understand the role of information seeking and gathering in the creative processes of people working in various subject domains.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

The authors analyse narratives of Chinese consumers of Vintage Costume Jewellery to show how value is attributed to vintage items, often in direct contrast to contemporary luxury goods. Examining a range of factors in this process, including uniqueness, scarcity, historical specificity, social meaning and cultural legitimacy, authenticity is shown to be central to the positioning of jewellery and those who collect, trade and appreciate it as tasteful and discerning consumers.

In order to help companies better grasp the perceptual needs of consumers for patterns, so as to carry out more accurate product pattern development and recommendation, this research develops a product pattern design system based on computer-aided design.

First, use the Kansei engineering theory and method to obtain the user's perceptual image, and deconstruct and encode the pattern based on the morphological analysis method, then through the BP neural network to construct the mapping relationship between the user's perceptual image and the pattern design elements, and finally calculate and find the corresponding design code combination according to the design goal to guide the pattern design.

Taking costume paper-cut patterns as an example, the feasibility of this system is verified, the design system can well reflect the user's perceptual image in the pattern design and improve the efficiency of pattern customization service.

Compared with the traditional method that relies on the designer's personal experience to propose a design plan, this research provides scientific and intelligent design methods for product pattern design.

This study aims to assess current academic library services to theater students through an examination of online research guides.

This study uses a representative sample of 100 universities that offer theater degrees; the library website at each of these institutions is examined for the existence of a theater research guide. Each research guide was analyzed in depth.

The vast majority of the universities in the sample did create research guides for theater students, though the contents of these guides varied greatly. The study highlights findings including popular databases and journals for theater students, as well as media resources and common subjects for subsections or course guides.

This study only examined a sample of 100 institutions; many theater research guides were not examined for this study. Additionally, analysis of online content is a time-specific endeavor: a guide may look significantly different from one month to the next, though the recommendations in this article might prove useful even if the sites at these institutions have since been updated.

Through an examination of a great number of guides, a few practical suggestions emerge for librarians looking to create theater research guides, such as highlighting playscripts and other print materials and including hyperlocal information (such as university production history).

Though several studies have been performed on research guides in various disciplines, this article is the first on those to theater students.

This paper examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.

The authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.

The authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.

The study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.

This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.

This study aims to produce textile-like surfaces using fused deposition modelling (FDM) 3D printers and create a garment collection.

Experiments were conducted using different types of materials in FDM 3D printers until the sufficient flexibility was achieved to create textile-like structures. During the research, properties of polylactic acid (PLA), acrylonitrile butadiene styrene (ABS) and thermoplastic polyurethane (TPU) were observed. Geometrical patterns were printed and each of them gave a different result depending on the pattern. Based on the information obtained from the experiments, a garment collection with four total looks was designed inspired by Vivaldi’s “Four Seasons”.

Among the materials used, TPU, a flexible filament, yielded the best results. Because of the rigid properties of PLA and ABS, chain-like structures were printed to create relatively flexible surfaces, but the results were still not successful enough to create a clothing material. Therefore, TPU was preferred for the garment material selection.

In this study, combinations of 3D printed flexible structures and different types of fabrics were used to create a garment collection. It was concluded that, with the right material selection, 3D printing can be used as an alternative method to create a new aesthetic language in fashion design.

Fashion retailing has evolved in response to opportunities and market pressures. It has been both reactive and proactive. For example, Palmer, in 2001, analyses what might be called a partnership between Canadian department stores and European couture houses in the 1950s. Her work affords a rare overview of retailing's fit with fashion design and commercial delivery systems, and is a point of departure for closely examining an earlier period (1880‐1920) in Australia. The current paper studies the leading role that department stores played in shaping the Australian fashion scene and the marketing techniques they used. A context, period and country, where a set of major retailers formed the predominant influence on fashion trends, and styles and diffusion throughout the community have been identified. Findings suggest that for the 1880‐1920 period the department store retailers were market‐driving rather than simply market‐driven, implying a more proactive and innovative role for the department stores.