Volume 1, Issue 2

Historical References in Souvenir Design historical-references-in-souvenir-design Volume 1, Issue 2 Research Article 2024 1 For both citizens and visitors, Turkey offers a unique experience with numerous cultural facets and historical motifs. What one would take away from this experience raises an intriguing question. One of the primary symbols of the things we bring back from our travels is souvenirs. The study’s objective is to analyze Turkish souvenir items in light of the references to history included in their designs. The primary focus of the study is the MuzedenAl website, which is the official online museum shop of the Ministry of Culture and Tourism of the Republic of Turkey. A content analysis is conducted to determine how the artifacts’ design attributes relate to the specified historical topics. Upon analysis, it becomes apparent that the souvenir objects not only serve as mementos for tourists but also encapsulate and portray the intricate and multi-layered history of Turkish design.

]]> Gordon, B. (1986). The Souvenir: Messenger of the Extraordinary. Journal of Popular Culture,
20(3), 135-146.

Hoven, E. V. D., & Eggen, B. (2005). Personal Souvenirs as Ambient Intelligent Objects.
Singh, M. (2018). Understanding souvenir as an essential instrument for guiding tourists: A conceptual
framework. Journal of Tourism Intelligence and Smartness, 1(2), 75–87.

Gül, M. (2024). Tarihî çevrede yeni tasarım: ‘Tarihselcilik’ ve modernin karşıtlığı (New design in
the historical environment: The contrast between historicism and modernity). Milli Saraylar
Sanat Tarih Mimarlık Dergisi, 26(June), 5–19.

Oxford. (n.d.). Souvenir. In Oxford Learners Dictionary. Retrieved May 15, 2024, from https://
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90v%C9%99n%C9%AAr%2F,been%20on%20holiday%20synonym%20memento

Pavelko, R., & Grabe, M. (2017). Sampling, content analysis. In J. Matthes, C. S. Davis, & R. F.

Potter (Eds.), The International Encyclopedia of Communication Research Methods. Wiley.
https://doi.org/10.1002/9781118901731.iecrm0223

Bozkurt N. (2024). Sedefkârlık, Mother of pearl. https://islamansiklopedisi.org.tr/sedefkarlik

Yetkin S. (2024). Cini, Turkish tile art. https://islamansiklopedisi.org.tr/cini

Yenişehirlioğlu, F. Ç. (2012). Tarih, tarihsellik, tarihselcilik ve kültürel tüketim (History, historical,
historicity and cultural consumption). In Bilanço: 1923-1998. Istanbul: Turkish Social
and Economic History Foundation. Retrieved from https://www.academia.edu/3749225/
Tarih_Tarihsellik_Tarihselcilik_ve_Kültürel_Tüketim

]]> cultural heritage, historical motifs, design analysis 2024-12-24 https://ijad.ibupress.com/articles/historical-references-in-souvenir-design 2 1-11 10.69648/RXHC8491 en CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ https://ijad.ibupress.com/file/532/ibu-journal-ijad-2-1-low.pdf Ferhan Egemen Sunal International Balkan University true International Journal of Art and Design 2955-2397 2955-2400 Balkan University Press https://ijad.ibupress.com

Comparative Analysis of the Design Terminology comparative-analysis-of-the-design-terminology Volume 1, Issue 2 Research Article 2024 1 The study is devoted to expanding and deepening the methodology of project thinking in order to introduce theoretical and methodological foundations in design practice and design education. Professional terminology is an urgent problem today, since in addition to higher education, there are many short-term courses, websites of design studios and blogs, where information is often presented incorrectly or subjectively. Based on the works of famous historians, theorists and design practitioners, the main purpose of the article is to concretize basic design terms. Taking into account the interdisciplinarity and social essence of design activity, its impact on the scale, process and result of design objects functioning, the author applied historico-comparative, system-structural, sociocultural, synergistic, semiotic, and praxeological research methods. The discussion included the analysis of design as a product of art-project culture, as well as outlining the general prospects for its development, taking into account the latest technologies. Interconnections of functionality, technology and aesthetics of form-creative means in design process are emphasized. Particular attention is paid to specifics of design thinking and corresponding interpretations of various authors. Conclusions present the results of theoretical generalization of terminology field in design industry. A number of research tasks have been completed: research methods have been substantiated, the essence of professional design terms at language levels has been compared by analysing and correlating English and Ukrainian scientific and educational sources; terminology for modern design education has been specified. This work has three levels of importance: conceptual-predictive, problem-theoretical, and the disciplinary level.

]]> Ambrose, G., & Harris, P. (2010). Design Thinking. AVA Publishing.

Archer, L. (1979). Design in General Education. The Royal College of Art.

Bencova, J. (2012). Design argument. Architektyra & Urbanizmus, 46 (1-2), 96-109.

Brown, T. (2008). Design Thinking. Harvard Business Review. https://hbr.org/2008/06/design-
thinking

Byars, M. (1994). The Design Encyclopedia. J. Willey & Sons.

Creativity (2024). In Britannika. https://www.britannica.com/topic/creativity

Danylenko, V. (2003). Dyzain [Design]. Kharkiv State Academy of Design and Arts [in Ukrainian].

Design (2024). In Britannika. https://www.britannica.com/technology/civil-engineering

Design Education as a Catalyst for Innovation: case study from Singapore (2023). https://dl.designresearchsociety.
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Dyzain: slovnyk-dovidnyk [Design: the reference dictionary] (2010). Instytut problem suchasnoho
mystetstva Natsionalnoi akademii mystetstv Ukrainy [in Ukrainian].

Encyclopedia of Media and Communication (2013). Ed. M. Danesi. Toronto University Press.

Erlhoff, M. (2008). Design Dictionary. Board of International Research in Design. Basel – Berlin
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Folta, O. (1973). Osnovy khudozhnoho konstruiuvannia [Fundamentals of artistic construction].
Vyshcha shkola [in Ukrainian].

Gjorgjieski, V. (2024). Art Redefined: AI’s Influence on Traditional Artistic Expression. International Journal of Art and Design, 1(1), 49-60.

Jones, D. (2020). Distance and online design education – a (not so) quick introduction. www.
open.ac.uk/blogs/design/distance-and-online-design-education-a-not-so-quick-introduction
29

Khmelovskyi, O. (2002). Vstup u dyzain [Introduction to Design]. Lutsk University Press [in Ukrainian].

Kosyv, V. (2021). Mahisterska robota z hrafichnoho dyzainu: 100 vymoh i porad [Master’s thesis
in the Graphic Design: 100 tips and tricks]. Litopys [in Ukrainian].

Margolin, V. (1995). Design History or Design Studies. Design Issues, Vol. 11, No. 1, 4-15. https://
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Morant, H. (1970). Histoire des arts decoratifs et appliques de l’Antiquite a nos jours avec un
article de Gerald Gassio Talabo sur le design. Hachette [in French].

Papanek, V. (2005). Design for the Real World: Human Ecology and Social Change (2nd ed.). ChicagoReview Press.

Pryshchenko, S. (2019). Suchasna metodolohiia ta perspektyvy rozvytku reklamnoho dyzainu
[Modern methodology and prospects for the development of Advertising design]. Herald of
the National Academy of Culture and Art Management, 1, 389-394 [in Ukrainian].

Pryshchenko, S. (2020). Dyzain i reklama: iliustrovanyi slovnyk [Design and Advertising: the
illustrated dictionary]. Сondor [in Ukrainian].

Pryshchenko, S., Antonovych, Ye., & Senchuk T. (2024). Sociocultural tendencies оf the design
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Raizman, D. (2011). History of Modern Design. Pearson Prentice Hall.

Tymofiienko, V. (2002). Arkhitektura i monumentalne mystetstvo: terminy ta ponyattia [Architecture
and Monumental art: terms and concepts]. Instytut problem suchasnoho mystetstva
Akademii mystetstv Ukrainy [in Ukrainian].

Shpara, P. (1989). Tekhnycheskaia estetyka i osnovi khudozhestvennoho konstruyrovanyia [Technical aesthetics and the basics of artistic construction]. Vyshcha shkola [in Ukrainian].

Shumeha, S. (2004). Dyzain. Istoriia zarodzhennia ta rozvytku dyzainu [Design. The history of
the origin and development of design]. Tsentr navchalnoi literatury [in Ukrainian].

Socially responsible Design (2002). http://www.designishistory.com/design/socially-responsible

Sweet, F. (1999). Metadesign. Design from the World up. Thames & Hudson.

Ulrich, K. & Eppinger, S. (2004). Product Design and Development (3rd ed.). Irwin Press.

Ulrich, K. (2011). Design. Creation of Artifacts in Society. Pennsylvania University Press.

What is Media Design (2014). In Encyclopedia of Human-Computer Interaction (2nd еd.). https://
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]]> design education, design industry, basic design terms, glossary, interdisciplinarity, project thinking 2024-12-24 https://ijad.ibupress.com/articles/comparative-analysis-of-the-design-terminology 2 15-29 10.69648/EHGG3936 en CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ https://ijad.ibupress.com/file/531/ibu-journal-ijad-2-2-low.pdf Svitlana Pryshchenko Design Department, STATE UNIVERSITY OF INFRASTRUCTURE AND TECHNOLOGIES (SUIT, KYIV UKRAINE) true International Journal of Art and Design 2955-2397 2955-2400 Balkan University Press https://ijad.ibupress.com

Digital Fashion for Sustainable Cultural Diversity digital-fashion-for-sustainable-cultural-diversity Volume 1, Issue 2 Research Article 2024 1 This research examines the digitalization of the fashion industry, exploring how this emerging paradigm fosters sustainability and cultural diversity among designers. It highlights the democratizing potential of digital tools and technologies in fashion design while addressing the challenges and opportunities they introduce. The study investigates the potential for digital fashion to nurture authentic expressions of cultural diversity, countering the dominance of a few global fashion capitals by developing new local markets and individual fashion narratives within the digital space. A key focus is how virtual fashion enables the exploration of cultural values from individual perspectives rather than generalized norms. This decentralized approach offers an alternative for those who resist conforming to traditional fashion systems. Digital fashion’s implications for cultural identity, inclusiveness, and sustainability are examined, emphasizing its role as a medium for expressing and reimagining cultural identities. The research underscores the need for sustainable practices, advocating for fashion systems that embrace diversity and ecological responsibility. Case studies of key players in digital fashion illustrate the intersection of cultural diversity, sustainability, and innovation. These examples, often outside the elite fashion establishment, demonstrate how digital fashion facilitates a transformation of the traditional system. Through qualitative research methods, the study analyzes the contributions of digital artists and cultural experts, offering empirical evidence of cultural exchange within digital creativity. Given the nascent and often contested nature of digital fashion, the study emphasizes the importance of addressing complex issues such as cultural appropriation and digital representation. This deeper exploration aims to foster sustainable work patterns and new cultural systems, promoting inclusivity and authentic expression in contemporary fashion

]]> Muhammad Sayem, A. S. (2023). Digital Fashion Innovations, Advances in Design, Simulation
and Industry. CRC Press.

Brydges, T., d’Ovidio, M., Lavanga, M., Leslie, D., & Rantisi, N. M. (2021). The Field of Fashion in
the Digital Age. Routledge.

Inns, T. (2021). Designing for the 21st Century: Interdisciplinary Questions and Insights. Taylor
& Francis.

Hracs, B., Leslie, D., Rantisi, N. M., & Lavanga, M. (2021). Culture, creativity and economy: Collaborative
practices, value creation, and spaces of creativity. Taylor & Francis.

Chris Duffey. (2023). Decoding the Metaverse. Kogan Page.

Nimkulrat, N., Kane, F., & Walton, K. (2016). Crafting Textiles in the Digital Age. Bloomsbury
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Taylor & Francis.

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Kawamura, Y. (2023). Fashion-ology: Fashion Studies in the Postmodern Digital Era (3rd ed.).
Bloomsbury Publishing.

Massi, M., Vecco, M., & Lin, Y. (2020). Digital Transformation in the Cultural and Creative Industries:
Production, Consumption and Entrepreneurship in the Digital and Sharing Economy.
Taylor & Francis.

Parkins, I., & Dever, M. (2020). Fashion: New Feminist Essays. Taylor & Francis.

Duffey, C. (2023). Decoding the metaverse: Expand your business using Web3. Kogan Page.

Casciani, D., Chkanikova, O., & Pal, R. (2022). Exploring the nature of digital transformation in
the fashion industry: Opportunities for supply chains, business models, and sustainability-
oriented innovations. Sustainability: Science, Practice and Policy, 18(1), 773–795. htps://
doi.org/10.1080/15487733.2022.2125640

]]> fashion design, digitalization, sustainability, cultural diversity 2024-12-24 https://ijad.ibupress.com/articles/digital-fashion-for-sustainable-cultural-diversity 2 31-44 10.69648/ALWJ8645 en CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ https://ijad.ibupress.com/file/530/ibu-journal-ijad-2-3-low.pdf Emilija Slavkova International Balkan University true International Journal of Art and Design 2955-2397 2955-2400 Balkan University Press https://ijad.ibupress.com

AI - The New Technologies in Fashion: Reshaping and Revolutionizing the Value Chain and Design Process ai-the-new-technologies-in-fashion-reshaping-and-revolutionizing-the-value-chain-and-design-process Volume 1, Issue 2 Research Article 2024 1 The transformative fast technological shift of Artificial Intelligence (AI) on fashion product development is reshaping and revolutionizing the industry’s impact, evolving in an era of technology, innovation, and efficiency. Artificial intelligence (AI) is now an integral part of every industry, and it is used for a lot of benefits and functions in businesses and the economy, as well as creative industries like fashion, art, and design. Artificial intelligence and its powerful tools can be applied to every step of the fashion value chain: production, concept and design, retail, source of materials, and logistics. It can bring improvements such as speeding and relieving processes, handling amounts of data that humans can’t, and offering consumers new ways of experiencing retail. AI is proving to be a powerful innovation, starting from the initial stages of design through production and offering predictive insights, enhancing creativity, and optimizing processes. AI algorithms and data structures have the potential to improve operations, drive innovation, and create personalized experiences in the fashion industry, benefiting both businesses and consumers. In fashion, human skill and creativity often hold the key to brand differentiation. From product development to robotic manufacturing. Different tools, applications and programs used properly can free designers from manual tasks to focus on creative work. Human designers will remain key, while Gen AI will enable their roles to be orientated around curation. This potential must be communicated clearly to creatives to ensure the technology is adopted without undermining the role of the designer.

]]> Bov Team Mckinsey & Company. (2023) Technology: How Gen AI is reshaping fashion’s creativity.

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Marku, E. (2023). AI-Artificial intelligence and the Growth of the Creative Potential of Designers
in the Fashion Industry. POLIS University (pp. 54-61). https://doi.org/10.37199/
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Christou L. (2024) 3D Look. Artificial Intelligence in Fashion: Reshaping the entire industry.Retrieved from https://3dlook.ai/content-hub/artificial-intelligence-in-fashion/

Mollard, M. (2020). Bridging the gap between artificial intelligence and creativity in fashion.

Heuritech. Retrieved from https://heuritech.com/articles/artificial-intelligence-fashion-creativity/

Baukh, O. (2024) How artificial intelligence is revolutionizing the fashion industry. Techpacker.

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Evangelista P. E., (2020). Artificial intelligence in fashion: How consumers and the fashion system are being impacted by AI-powered technologies. Politecnico di Milano, 27–28. (pp. 27-28)

Roser. (2024) The artificial intelligence in fashion: an unstoppable trend. Neural Fashion. Retrieved
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Fishman, S. (2023). How artificial intelligence is changing the fashion industry. Immago. Retrieved
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Choi, W., Jang, S., (2023) Developing and AI-based automated fashion design system: Reflecting
the work process of fashion designers. Fashion and Textiles. Korea.

Zhang, Y. & Liu, C. (2024) Unlocking the Potential of Arificial Intelligence in Fashion Design
and E-commerce Applications: The Case of Mid journey. Theoretical and applied electronic
commerce research. USA

Ziyue, G., Zongyang, Z., Yizhi, L., Shidong, C., Hangyue, C., & Gaoang, W. (2023) AI Assisted
Fashion Designer. China

]]> Artificial intelligence, technology, fashion, innovation, design 2024-12-24 https://ijad.ibupress.com/articles/ai-the-new-technologies-in-fashion-reshaping-and-revolutionizing-the-value-chain-and-design-process 2 45-56 10.69648/MLNC1864 en CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ https://ijad.ibupress.com/file/529/ibu-journal-ijad-2-4-low.pdf Marija Spaseska IBU true International Journal of Art and Design 2955-2397 2955-2400 Balkan University Press https://ijad.ibupress.com

Adopting Circular Practices Across the Fashion Industry: The Circular Model adopting-circular-practices-across-the-fashion-industry-the-circular-model Volume 1, Issue 2 Research Article 2024 1 The fashion industry is one of the biggest polluters on the planet. New technologies, fast production, and increased demand result in massive carbon emissions, high water consumption, and pollution of water bodies, as well as microplastic waste that ends up in the oceans. The circular model represents an analysis of the issues across all stages of the fashion industry and is a synthesis of solutions and practices that can contribute to environmental protection. Achieving sustainability in all phases of the production-consumption processes means that the responsibility for protecting the environment is a shared responsibility among all participants in the fashion industry. This paper concludes the goals and content of the initiatives and practices promoted through #NoWasteMK, 2021 MFA, and Skopje Fashion Weekend.

]]> Brower, A., Mallory, J., & Ohlman, C. (2005). Experimental eco-design: Architecture/fashion/product.
RotoVision SA.

Charter, M., Fletcher, K., & others. (2023). Accelerating sustainability in fashion, clothing and textiles
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Fletcher, K. (2008). Sustainable fashion and textiles: Design journeys. Earthscan.

Fletcher, K. (2013). Sustainable fashion and textiles (2nd ed.). Routledge.

Gwilt, A. (2020). A practical guide to sustainable fashion (2nd ed.). Bloomsbury Visual Arts.

]]> Sustainability, Circular, Textile, Industry, Fashion 2024-12-24 https://ijad.ibupress.com/articles/adopting-circular-practices-across-the-fashion-industry-the-circular-model 2 49-60 10.69648/ALWJ8645 en CC BY-NC-ND 4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/ https://ijad.ibupress.com/file/528/ibu-journal-ijad-2-5.pdf Maja Gjureska International Balkan University true International Journal of Art and Design 2955-2397 2955-2400 Balkan University Press https://ijad.ibupress.com