Fashion Design
Contents
TOC o “1-3” h z u HYPERLINK l “_Toc376930990” Introduction PAGEREF _Toc376930990 h 1
HYPERLINK l “_Toc376930991” History of Textile PAGEREF _Toc376930991 h 2
HYPERLINK l “_Toc376930992” Textile innovations PAGEREF _Toc376930992 h 3
HYPERLINK l “_Toc376930993” Textile Designer PAGEREF _Toc376930993 h 5
HYPERLINK l “_Toc376930994” Fashion Design PAGEREF _Toc376930994 h 6
HYPERLINK l “_Toc376930995” How textile Designer and a fashion Designer collaborate to work together PAGEREF _Toc376930995 h 7
HYPERLINK l “_Toc376930996” Influential Fashion Designers PAGEREF _Toc376930996 h 8
HYPERLINK l “_Toc376930997” Issey Miyake PAGEREF _Toc376930997 h 9
HYPERLINK l “_Toc376930998” Nuno Corporation – Reiko Sudo PAGEREF _Toc376930998 h 9
HYPERLINK l “_Toc376930999” Liza Bruce PAGEREF _Toc376930999 h 10
HYPERLINK l “_Toc376931000” Sarah Taylor PAGEREF _Toc376931000 h 11
HYPERLINK l “_Toc376931001” Schoeller Textile AG PAGEREF _Toc376931001 h 11
HYPERLINK l “_Toc376931002” Norma Starszakowna PAGEREF _Toc376931002 h 11
HYPERLINK l “_Toc376931003” Jacob Schlaepfer PAGEREF _Toc376931003 h 12
HYPERLINK l “_Toc376931004” The future of fibre and fabrics PAGEREF _Toc376931004 h 12
HYPERLINK l “_Toc376931005” Designers primary concern Aesthetics PAGEREF _Toc376931005 h 13
HYPERLINK l “_Toc376931006” How the innovations of fabrics bring the world of art, design, engineering and science ever closer? PAGEREF _Toc376931006 h 14
HYPERLINK l “_Toc376931007” Microfibers PAGEREF _Toc376931007 h 15
HYPERLINK l “_Toc376931008” Microfibers on the market PAGEREF _Toc376931008 h 16
HYPERLINK l “_Toc376931009” Metallics PAGEREF _Toc376931009 h 16
HYPERLINK l “_Toc376931010” Nonwovens PAGEREF _Toc376931010 h 17
HYPERLINK l “_Toc376931011” Synthetic foams, rubbers and gels PAGEREF _Toc376931011 h 18
HYPERLINK l “_Toc376931012” Carbon, glass, fiber optic and ceramic PAGEREF _Toc376931012 h 20
HYPERLINK l “_Toc376931013” Conclusion PAGEREF _Toc376931013 h 21
HYPERLINK l “_Toc376931014” Work cited PAGEREF _Toc376931014 h 21
IntroductionThe word fashion in its entirety means change. Due to the pace of change, designers are always under constant force to maintain their creative momentum. According to Kathrine and Jenine, innovations and technologies has acted as a catalyst of change by decreasing the lead-time between design and finished stock entering the retail environment (Kathryn M. and Janine). According to Operath, clothes are the representation of man’s personality (Operath). We cannot deny the fact that clothes are amongst bare necessities in life. Apparently, clothing and textile depicts an individual’s personality. Due to altering times and the way the global world is moving, a radical revolution in the textile industry, has affected the fashion world tremendously (Operath). Quick and timely variations in the textile sector impacts deeply on the choice of both the fashion designer and the consumers at large. This has made the future or latest trends of fashion not to last for longer periods (Operath). Textiles, as a mirror, provide an interesting and enlightening vantage point to look at society.
Therefore, this paper is dedicated to show how textile innovation has influenced the fashion world by looking at various aspects such as: the history of textile, textile innovation, fashion and textile design, and some of the prominent fashion designers. The paper will also examine the future of fibres and the new technologies that make fashion bloom.
History of TextileAccording to Jenkins, the history of textile industry is almost as old as the history of human civilization. Through the years, innovations in clothing production, manufacture and design has come to a rise. As early as 4000 BC, hand operated spindles along with a loom were the most important tools for production of textile in Europe. Raw materials commonly used were wool and linen (Jenkins).
As Jenkins states in his book, “The Cambridge history of western textile,” the 18th and 19th Centuries saw the discovery of machines and mechanization in the production of fabric (Jenkins). The most significant innovations that came during this time changed clothing forever. In accordance with Jenkins, the findings of various synthetic strands like nylon shaped a wider market for textile products and progressively led to the invention of new and improved sources of natural fiber (Jenkins). In the Industrial Revolution period, the Textile industry evolved from being a domestic small scale industry to the state of prominence it currently holds due to the emergence of machines like the spinning wheels and handlooms. Raw materials included wool, flax and cotton however; the place where a cloth was being produced determined the material to be used (Jenkins).
In the Industrial Revolution era, Wyatt and Paul invented machines like the flying shuttle (1733), the flyer, the bobbin and the roller spinning machine. These inventions by Wyatt and Paul increased the speed of production. Later inventions included the carding machine by Lewis Paul in 1748 and the spinning jenny in 1974. Richard Arkwright then later invented the water frame in 1771 followed by Edmund Cartwright’s power loom in 1784 (Heerman).
In recent times, up-to-date techniques, electronics and innovations have led to a highly competitive, cheap textile offering almost all types of clothes or designs an individual could desire. According to Jenny, there is a repetition in the use of certain patterns and fabrics throughout the history of textiles. These textiles remain classics and some classics remain constantly popular in some form or another (Udale).
Textile innovationsInnovations in textile do not necessarily mean innovations in the fabric itself; still, it can be understood to be innovation in machinery of textile. According to Gale and Kaur, Textile chemistry and the mechanization of machinery have brought sweeping changes that revived textile production and design. The attitudes towards innovation and the generations of new ideas in textile and fashion differ from one country to another. For instance, the Italians particularly advocate advances in their textile industry and encourage the associations between textile and fashion (Gale and Kaur).
Apparently, many countries like Japan value innovation in textiles and its relation to fashion to such a higher degree that they are prepared to invest in it. Recent innovations in the industry include nanotechnologies. Nanotechnologies have created new textile products that can detect chemicals and gases, generate mobile power and incorporate flexible sensing system. According to Wright, these nanotechnologies manipulate the properties of materials at the molecular level to produce enhanced performance qualities. In addition, nanotechnologies are the drivers behind many textile innovations.
When it comes to healthcare, most industries have embraced microfiber-cleaning products. This is due to their major capability to address the market’s concerns about preventing cross-contamination in the company. According to Julie Silas, some microfiber mop systems are well designed such that they can isolate germs and bacteria that were picked up during cleaning easily. Microfiber products when used with a small amount of chemical cleaning agents will do quite a good service (Silas). Wool is an example of textiles that are healthy and make one feel comfortable. A pure wool fabric has ability to reduce allergies at home. It also lacks flammability. Merino wool is the best fabric to use with baby sleep bags and caps because it provides a year round safe temperature while providing warmth, circulating air and preventing any moisture from accumulating. Wool also absorbs humidity while remaining dry and it contains natural lanolin, which is a biologically active substance at the same being water resistant. Using natural wool materials helps to reduce dust mites, asthma, skin diseases and upper respiratory tract infections (B. N. Wright).
In recent years, the textile industry has been more innovative in technical developments that the clothing industry. Major innovations have taken place in technical fabrics developed for their functional properties and performance in fields such as sportswear and uniforms. Environmentally friendly fabrics as well as fabrics manufactured from organic natural fibres are now available in the market. These reflect the changing priorities of the consumers. Goworek gives examples of some of the innovative fibres, which include Tencel (recyclable and biodegradable fabric), Goretex (has micropores that allows perspiration to escape whilst resisting rain), and Coolmax (made from specially engineered polyester fibres, with thermoregulatory and moisture properties) (Goworeck).
According to Goworeck, fabric manufacturers have also developed micro-encapsulation, which allows additional elements encapsulated within fibres incorporating scents or insect repellent finishes. For example, the lingerie brands have designed garments ranges made from fabrics containing these microencapsulated aromas. Also under development are smart fabrics, which can respond to the wearer’s environment. Designers like Philip are in the process of developing wearable electronics with garment containing mobile phones and camera to locate the wearer, electronic club wear and sportswear with MP3 technology to monitor sporting performance. These developments in textile are aimed at specific uses and it is unlikely that fabric technologies will push the boundaries further by applying similar innovations into fashion fabrics (Goworeck). In one way or the other, innovations have affected traditional manufacturing and design processes subsequently. According to Gale, weaving, knitting and embroidery have eventually given way to genetically or chemically grown fabric.
Textile DesignerThe role of a textile designer comprises of a myriad of descriptions including inventor, scientist, designer, and engineer. Textile designers have a handle on the requirements of the textile manufacturer and the intricacies of the market place. Starting with the consideration of the eventual use of a fabric, they develop ideas and realize concepts. Depending on the textile designers area of expertise, be it creative or scientific, design outcomes can range from fabrics for use in fashion and interiors to highly complex technologically advanced, performance materials. A textile designer finds the right balance between creativity, innovation and commercialism (Gale and Kaur).
A large proportion of textile designers work for fabric manufacturers, but many others also work for retailers or suppliers of fashion and homeware products (Goworeck). Gowereck observes that within the fashion industry, textile designers always remain anonymous to the consumers, while fashion designers take all the credit for the total design of the garments, using numerous sources of fabrics, designed by several textile designers working for various companies (Goworeck). According to Gowereck, textile designers are less famous compared to their fashion design counterparts. According to Gowereck, Textile design bridges fashion design and many other cloth related field and it fulfills so many purposes in our lives. Almost all our lives revolve around the textile designs for example we move on vehicles which use tires reinforces with strong textile cord, we put on clothing every day.
Fashion DesignAccording to Cooklin, the title fashion design includes not only those who work at the couture level but also those involved in mass production at all price levels of the market. Therefore, fashion design is a discipline that entails the application of design and aesthetics or natural beauty to apparel and accessories (Gerry Cooklin). Fashion design varies over time and place; moreover, cultural and social latitudes of a people group have also greatly influenced fashion design. In a number of ways, fashion designers work to design clothing and accessories. Fashion designers either chose to work alone or as a team. Due to the time required to bring a garment to the market and the anticipated change in consumer tastes, fashion designers attempt to design both aesthetically pleasing and functional clothing to satisfy the consumer’s desire for aesthetically designed clothing.
While making these aesthetically pleasing as well as functional clothing, fashion designers consider both the likely wearer of the garment and at what situations, events or occasion. In their work, fashion designers choose from a wide range and combinations of materials, colors, patterns and styles to work with.
According To Stecker, fashion design started in the 19th century with Charles Frederick Worth being the first designer to have his brand name sewn into his created garments (Stecker and Pamela). Worth’s success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done (Stecker and Pamela). In fact, to describe him, the term couturier was formed. Innovations enable fashion designers to differentiate their products and improve their competiveness and textile still seems to underpin the structure of fashion. Fashion is also an expression of what people feel and think. At all market levels, consumers demand products that are innovative, individual and technologically advanced. The design process more than ever builds on serious consideration of the consumers needs and desires in order to satisfy an increasingly sophisticated and discerning market.
How textile Designer and a fashion Designer collaborate to work togetherAccording to Gale & Kaur, it is evident that the discovery of a new fabric can revolutionize a fashion design or can create the foundation for the philosophy behind a collection (Collin and Jasbir) According to Gale & Kaur, scientific, mechanical and technological inputs from professionals, in the textile industry, can fuel a fashion designer’s notion about possibilities in clothing. As we can note, there is a mutually beneficial relationship between the textile and fashion designers in that the fashion designer is equipped with new and exciting materials to work with whilst the textile designer is provided with an effective promotional tool by fashion (Collin and Jasbir). Gale and Kaur further exclaims that a fashion designer can collaborate with a textile designer on a one-on-one basis or partner with a textile company and acquire a custom-made design solely for their use. Across the globe, the coexistence of fashion and textiles is evident. Apart from these companies being key employers, they also significantly contribute to numerous economic systems around the world (Gale and Kaur). As Kaul and Gale states, within this complex relationship, fashion supplies a constant flow of new and varied formulations in apparel. Fashion is ultimately dependent upon textile and cannot exist without textiles. The two industries create a phenomenon greater than any of them, an essential aspect of their commercial success and perhaps the impetus for the world trends (Gale and Kaur). The relationship between textile and fashion is a mutually beneficial one.
Influential Fashion DesignersAccording Pamela Stecker, understanding the role played by leading designers in the development of fashion serves several purposes. First, it inspires us and serves as a source of ideas for themes, materials, decorative treatment and approaches to garment construction (Stecker and Pamela). It also provides us with an understanding of how past and present designers create clothing which expresses the time in which they live (Stecker and Pamela).
In the world of Textile design, Japan is a dynamic leading force in the world hence enjoys and international reputation in the production of pioneering textile designs (Collin and Jasbir). Japan is home to some of the world’s textile designers not only in terms of aesthetic qualities but also concerning the development of innovative materials and techniques of printing and weaving. Some of these leading designers include, Issey Miyake and Reiko Sudo. Often, the Japanese are regarded as the engineers of world textile design perhaps due to the intimate relationship developed between manufacturers and designers. The knowledge of various limitations or functions of industrial machinery form an integral part of Japanese textile design psyche that enables them to simultaneously refer and challenge traditional Japanese and Western convections in terms of industry and craft tradition (Collin and Jasbir). According to Gale, Japan’s basic design, the concepts of design execution have changed little; however, technologies in the execution of these designs have changed.
Issey Miyake
Miyake was born on 22 April 1938 in Hiroshima, Japan. On August 6, 1945, just at the age of seven, he witnessed and survived the Hiroshima and Nagasaki atomic bomb. He joined Tama Art University in Tokyo to study graphic design and graduated in 1964 and after his graduation; he worked in Paris and New York City and later returned to Tokyo in 1970 where he established the Miyake Design Studio. The Design studio was a high-end producer of women’s fashion (Collin and Jasbir). In the late 1980s, he did experiments with new methods of pleating that allowed both flexibility of movement for the wearer in addition to ease of care and production. He designed the black turtleneck, which later become Steve Job’s signature attire. He worked closely with a team of textile designers and engineers, the most prominent being Makiko Minagawa and Dai Fujiriwa. They put their expertise and together they developed fabric and fashion in unison (Gale and Kaur).
Nuno Corporation – Reiko SudoOver the past two decades, the towering figure in Japanese textiles has been Jun’ichi Arai and the Nuno Corporation. Having grown up in Kiryui, a small town north of Tokyo, he established himself as an individual designer. In 1984, he co-founded the Nuno Corporation with Reiko (Lesley). Nuno means “functioning fabric.” Having begun as a specialist textile shop in Tokyo, it is now famous as a world leader in the design of experimental contemporary fashion and interior textiles. According to Lesley, Nuno has tapped into both high and low-tech solutions using synthetic and natural fibres. In terms of both technology and aesthetics, Nuno has pushed forward the boundaries of textile design. For Arai, textiles are a vehicle for tactile and sensory stimulation and the designs he produced at Nuno exploited the textural and sculptural potential of textiles to the full. Jun’ichi now works independently but Nuno’s spirited approach to textile is continuing to the present day under the inspired leadership of Reiko Sudo (Lesley). Nuno is considered paradise of textile design as they make beautiful fabrics and incredibly interesting materials and weaves. (Lesley). According to Helen Brown, Nuno Corporation has taken a unique approach to innovation in that it does not conform to a linear model where three stages, research, development, and commercialization happen in a predictable sequence (Helen). Nuno Corporation according to Helen makes a sustained effort to pursue creative and artistic challenges. Their beautiful new textiles have an international influence on perceptions of scope of textile design (Helen). From Nuno Corporation, we learn that when artists can make significant impact on innovation when they work with industry.
Liza Bruce
Bruce was born in 1954 in New York City. At the age of 27, She started her own company in New York after attracting attention with the stylish swimwear she designed for herself and her friends. She later expanded her range to include daywear life jackets and tunics. She makes easy-to-wear, easy-to-pack clothes, which cling to the body. In the eighties, she was instrumental in the development of new Lycra based fabrics, which she used to evolve her signature-streamlined silhouette (Miner and Christine). In 1982, she designed high end-bathing suits, in 1988, she began designing ready-to-wear and in 1989, she launched outerwear designs. According to Minderovi, she worked exclusively with tubular fabrics for several seasons and her preoccupation with streamlining led to her invention of leggings’ and the evolution from her swimwear collection of ‘the body’ as the basis of the emancipated wardrobe of the eighties (Miner and Christine). She was undoubtedly the undisputed queen of the Black cat suit, and the swimsuits she designed for the Robert Mapplethorpe (Miner and Christine).
Sarah TaylorAccording to Gale and Kaur, Sarah Taylor has become somewhat of a pioneer in the field of weaving. Her research specializes on developing light-emitting fabrics using optic fabric. Fiber optic has been used in protective clothing for military use but Taylor has been investigating their possible applications within interiors, perhaps as multifunctional mood-enhancing design pieces. She was in 2002, nominated for the Jarwood Applied Arts Prize and in 2006; she received a Scottish Arts Council Creative Award (Hotcourses). Through controlling the colors of the light released from the fibers, Taylor proposes that it would be possible to agitate or calm the environment (Gale and Kaur).
Schoeller Textile AGSchoeller specializes in the advancement and manufacture of innovative and smart textile technologies for active sports, work wear, lifestyle, and fashion together with office furniture (Rasmussen). Schoeller dates back to 1867 and operates the most modern plant in accordance with blue signs which is the world’s most strict environmental standard. In cooperation with Universities and research institutes Schoeller develops customer specific and branch specific solutions. Schoeller only uses high quality and ecologically safe materials that are produced in Switzerland. Schoeller meets the highest standards. Among their innovation is a new finishing technology for garment fabrics that harness heat reflecting properties of certain minerals to keep the wearer warm. It has also developed new finishing technology for garment fabrics to protect wearers from ticks and mosquitoes (Down).
Norma StarszakownaNorma was born in 1945 in Crosshill Fife Scotland. In 1966, she gained a diploma in Art and Design at Duncan of Jordanstone. She was the head of textiles and chair of Design at the Dundee University. 1999-2002, she was director of research development at the University of Arts London and chair of the UK research Assessment Panel for Art and Design. In collaboration with Issey Miyake, she created a uni-colored fabric for Winchester Cathedral. She uses color to convey her feelings about Scotland history and achievements (Gale and Kaur).
Jacob SchlaepferHe is mostly referred as the best European embroidery. His fabrics have contributed to helping develop luxurious textiles as well as very playful styles. Jacob ensures balance between innovations, fashion and any bother requirements of his client. His creative designers are also said to have succeeded in combining all that implies to technology in handcraft making (Rasmussen).
The future of fibre and fabricsAccording to Operath, the future of Textile Industry is difficult to foresee in regards to how much and what kind of textile is produced, which country and which firm will produce textile and which structural characteristics it will have. In regards to people’s taste, and ever improving quality in textile and fashion in the outside world, fashions in this field have undergone different variations. Designers and consumers at large have a wide range to choose from due to the quick and timely variations in the sector. Due to this, the future of fashion or the latest fashion does not last for long in nowadays (Operath).
It is anticipated that the appearance of the textile design portfolio will evolve as the practices of world textile design is evolving. In relation to a May 2008 report on the state of the U.S. specialty fabrics marketplace by Specialty Fabrics Review, the global textile industry has undergone tremendous change through the last 10 years and more change is anticipated to take place in the industry in the coming years (Rasmussen). The Industrial Fabrics Association International (IFAI) does regular research to keep members informed about industry economic trends and on the outlook for different industry segments that use “specialty fabrics,” the term given to textile products manufactured mainly for their performance and functional properties, rather than for decorative purposes (Wright and Bruce). Specialty fabrics are classified into many fields, such as automotive applications, medical textiles, geotextiles, architectural textiles, agrotextiles, and protective clothing and gear. Consistent with Rasmussen, through technological upgrades, textiles firms around the world are under are under ever-increasing pressure to be more efficient. Textile production is not any more a low technology, labor-intensive enterprise. (Rasmussen). Generally, we cannot foresee the future of fibre and fabrics. Nonetheless, from what we already know of the past of textiles, we observe that textile innovation will have roles in soft engineering, in reinforcement and in protection, some of the most basic ways we intervene in our material environment (Collin and Jasbir).
Designers primary concern AestheticsAesthetics is a field of philosophy that brings together Aristotle and Plato. Its main goals are establishing guideline rules for beauty as well as taste when it comes to fine arts (George and Milner). According to aestheticians, the main purpose of visual arts is creating beauty in any object (Gale and Kaur). The applied arts mainly refer to the design of furniture, clothing, household products, and appliances among many others.
The dress used to appear loose as compared to figure hugging fashion garments of that time. In the past artistic clothes and especially dresses were mainly embellished with daffodils, large sunflowers and peasant decoration (Jenkins). Its colors appeared earthy and were natural. Also natural softer vegetable dyes used to produce some half tints of amber gold and salmon although most of aesthetics liked the colours to look strange as well as old faded.
How the innovations of fabrics bring the world of art, design, engineering and science ever closer? The innovation of world’s fabrics has been arising in many different countries and at a very high level. Many countries are adopting this innovation because it has come up with new developments of art, design, manufacturing and science. As agreed by most writers, innovation is the key to growth and expansion. Nonetheless, some practices of innovative business are inspired in their creativity. According to Foreman founder of Enventys, innovation is widely used though not well understood. Innovation is changing the mindset of various companies from internal brainstorming to utilization of a host of ideas (Foreman). Innovations do mostly come from strategic partnerships using technology from a variety of sources (Gale and Kaur). In properties and performance of textile, one is acquired with knowledge and understanding of textile technologies and innovations of other applications (Stecker and Pamela). This is quite important because it helps to evaluate the effects of innovation on the performance of fabric and the likely effects on the society, consumer and the environment. According to Gale & Kaur, innovation of fabrics is one of the areas seen to bring close the fields of art, design, manufacturing and science (Gale and Kaur).
In the recent years, a technology has come up with science of extruding extremely fine filaments of microfibers while ensuring that maintenance of uniformity and strength of such processing characters is kept safe for consumers and manufacturers of textile. These microfibers are finer compared to luxury natural fibers such as silk. These have led to some people in the textile industry to refer microfibers as supernatural. Animals and plants produce supernatural fibers but processes of geology can also produce them. Their classification is according to their origin; vegetable fibers are based of cellulose, mineral fibers are in the group of asbestos, wood fibers are from tree sources and animal fibers consist of particular proteins such as wool, silk, catgut, sinew etc.
Microfibers As defined by Caijun Shi, microfibers are synthetic fibers that made up of a blend of polyester and polyamide or nylon. They are also defined as fibres that are less than one denier thick (Down). According to Down, Microfibers have the ability to produce specific qualities when specifically engineered. Through special engineering, microfibers become crease resistant, light in weight, strong, soft and sheer to handle with excellent draping qualities (Down). Some people do confuse microfiber and cotton clothes because of the similar thickness and feel but there is difference between the two. Microfiber strands are very small such that it is difficult to see them with bare human eyes (Caijun Shi). In the last century, microfiber technology has proved to be the most important product innovation to the cleaning industry. Microfibers play a big role in bringing together the aspects of art, design, manufacturing and science. In keeping with Gale & Kaur, Microfiber is one of the most important developments on the technology to extrude fine filaments at the same time maintaining uniformity and processing of characteristics expected by those in the business of textile (Gale and Kaur). Originally, microfibers were developed for sportswear that had to perform well in all weather conditions but gradually fashion and textile designers saw the huge potential for their development. Microfibers are today used to produce sportswear and other high performance garments, fashion garments, Lingerie, leisurewear, interior or furnishing products, and technical textile such as smart clothes. Smart clothes have incorporated advanced sensors and microprocessors which act as an aid for partially sighted people (Down).
Microfibers on the market According to Thomas J.A. Jones, the market for microfiber products has proved to be lucrative although some challenges are arising up due to commercial settings. Most designers do not like to use a particular fabric without first knowing the price. This business is also full of textile brokers who sell the leftovers of fabrics from garment manufacturers, fashion designers etc (Jones). Most microfiber distributers agree that the growth of the microfiber products in retail market will lead to growth in commercial products also. Microfiber market is very high because its products for example; cleaning products clean so well due to use of chemical cleaning agents. Distributors have mainly adopted the market of microfiber products. The science and engineering of fabrics is quite simple to the fashion designers. Most of the fashion designers prefer the idea of materials technology. In most cases, innovation work is left to the mills who determine which innovations are supposed to be available to the consumer (Gale and Kaur). There has been a competitive gain between textile chemical and fiber suppliers who are enthusiastically pursuing developments in the textile industry in order to maintain this competitive market. The development of new products in this industry is very essential because it helps to maintain the competitiveness of both fiber and fabric brands. This process involves analyzing the target customer or maybe market and conducting a
