Capes / O processo de desenvolvimento de produto do vestuário (PDPV) sofre influência da moda, esse fator confere a esse processo dinamismo e exige rapidez durante o desenvolvimento. As empresas desenvolvem seus produtos em linhas sazonais (coleções) em vez de produtos individuais, com uma grande quantidade de produtos por coleção e várias coleções ao ano. Consequentemente apresentam um curto período de tempo para o desenvolvimento de cada coleção. Neste sentido, a adoção de estruturas organizacionais adequadas e de boas práticas para o PDP, pode ajudar a melhorar o desempenho desse processo na indústria de confecção, que é essencial para a competitividade das empresas. Por meio da utilização de modelo de referência a empresa pode criar sua própria estrutura para a realização das atividades, de modo que o modelo se adapte a realidade da empresa, e ao mesmo tempo sistematize as atividades e estruture o processo. O objetivo desse trabalho foi propor um modelo de referência específico para a indústria do vestuário, adaptado as suas características. Este pode ser um caminho para estas empresas estruturarem seu PDP, aumentando o desempenho do processo e consequentemente dessas empresas no mercado. A abordagem do problema foi qualitativa e o desenvolvimento do modelo foi por meio de revisão de literatura e pesquisa de campo. A coleta de dados foi realizada por meio de entrevistas com empresas, profissionais e professores da área de PDPV. O objetivo das entrevistas foi de mapear o PDP nestas áreas. A construção do modelo foi feita em três etapas. A primeira etapa foi de construção de uma representação teórica, ou seja, um modelo teórico desenvolvido por meio da comparação de um modelo de referência genérico e modelos específicos para o vestuário. A segunda etapa foi de comparação do mapeamento das entrevistas com a representação teórica, confrontando a teoria e a prática. A terceira etapa foi o desenvolvimento do modelo propriamente dito. O modelo está desmembrado em macro-fases, fases e atividades. Cada fase foi detalhada com o fluxo de atividades e seus responsáveis, além das entradas e saídas de documentos e informações. O desenvolvimento do modelo de referência proposto vem de encontro com essas informações levantadas na literatura e nas entrevistas. Logo, pode estar contribuindo para a estruturação do processo no âmbito industrial e pesquisas na área de desenvolvimento de produto do vestuário, no âmbito acadêmico. O modelo de referência para o PDPV é uma junção de boas práticas que podem ser utilizadas em sua totalidade para estruturar com flexibilidade o PDP, ou ser utilizado parcialmente por meio de uma adaptação, ajustando-se à realidade a qual será utilizado. / The process of product development of apparel is greatly influenced of fashion, this fact gives this process great dynamism and speed development time. Companies develop their products in seasonal lines (collections) rather than individual products, with a batch of products by collection, several collections a year and therefore have a short time for the development of each collection. In this sense, the adoption of appropriate organizational structures and best practices for the PDP, can help to improve the performance of this process in the apparel industry, which is essential for the competitiveness of companies. Through the use of the reference model the company can create its own structure to carrying out the activities, so that the model fits the reality of the company, while systematize the activities and structure the process. The aim of this study was to propose a reference model specific to the apparel industry (PDPV), adapted to their characteristics, can be a way for these companies to structure their PDP, increasing process performance and consequently these firms. An approach to the problem was qualitative and the development of the model was through literature review and field research. Data collection was through interviews with companies, professionals and professors from sector PDP apparel. The purpose of the interviews was to map the PDP in these sectors. The model construction was done in three steps. The first step was the construction of a theoretical representation, that is a theoretical model developed by comparing of a reference model generic and specific models for garments. The second step was to compare the mapping of interviews with the theoretical representation, confronting theory and practice. The third step was the development of the model itself. The model is split into macro-phases, stages and activities. Each phase was detailed with the flow and those responsible for each activity, and the inputs and outputs of documents and information. The development of the reference model is proposed of encounter with those collected information in the literature and in interviews, then may be contributing to the design process in industry and research in the sector of product development apparel in the academic realm. The reference model for PDPV is a conjunction of best practices that can be used in its entirety with flexibility to structure the PDP, or be used by partially adapting, adjusting to the reality which will be used.

The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant social impacts to production workers. The move towards a more sustainable industry is a complex challenge and will be based on circular and social systems that prioritise values, collaboration and empathy for the environment and all stakeholders. This research defines the move towards a more sustainable fashion textiles industry as a transition that operates across environmental, social, and human domains. At the human level, the transition is an emergent process that involves both ‘inner’ and ‘outer’ dimensions (Maiteny & Reed 1988). For fashion textile designers, this process will demand new ways to practice and engage with the sustainability agenda, including the ‘outer’ dimensions of better materials or more ethical production models; and the ‘inner’, reflective dimensions of values and the self. This research proposes new roles for designers in these transitionary contexts, through craft-based fashion textile design practice. The practice projects presented in the thesis demonstrate three new roles that evolve through the sustainable design continuum to the highest level of Design for Social Equity (Manzini & Vezzoli 2008), where designers will support all stakeholders towards systemic, sustainable change. The practice projects reveal a collaborative and inter-disciplinary approach to fashion textile design practice in industry, local communities and the global supply chain. The research draws on a range of literature from sustainability theory, design/craft thinking, and psychology. The mixed methodology includes an action–research phase of collaborative practice projects, facilitation of workshops with designers in industry, and a reflective phase of textile making and writing. A model for the Transitionary Textile Designer is presented as a final outcome. In order for fashion textile designers to practice in transitionary contexts ‘beyond the swatch’, the research presents new methods and tools to connect individual values to social values inherent in the transition towards sustainability.

No description available.

This thesis examines the impact of European trade goods on some aspects of North American Indian clothing. Sources include historical archives, artefacts, and artistic representations as well as the conclusions of archaeologists and anthropologists. Part One considers the beaver fur trading background. Geographically, the area extended from the northern Atlantic seaboard, through the St. Lawrence River and Great Lakes, the northern Plains and into the Canadian Subarctic. The native population included Northeast Woodland, Plains, and Athapaskan/Subarctic peoples. European goods entered at different periods and varying rates. French and British traders depended for success upon the established trade network and the extensive goodwill of the Native American population. They found it essential to determine by trial and error and "market research" the types of goods which the experienced Indian consumers would accept in exchange for their furs. The Indians were discerning in their selection of items and made critical choices which have been under-rated or over-looked in the literature of the fur trade. In the past they were often represented as simple, passive and willing to accept any trifles which came their way. In fact, European men often adopted Indian clothing appropriately suited to the environment. They also carried popular items of Indian manufacture to trade alongside imported wares. Additionally, Indian traders expected that Euro-Americans would participate in their pre-existing reciprocal ceremonial bartering practices. Since cultural values differed widely they needed to find mutually accommodating methods for dealing with each other. Part Two, based extensively on artefactual examples examines the impact and influence of introduced trade goods, and to some extent French and British "styles" on Native American clothing manufacture of hats, coats, and shoes. Decorative materials such as cloth, blankets, ribbons, silverwork, braids, laces, and beads were adopted and ingeniously used in often unique ways. Steel needles, scissors, awls and knives came to play an important part in skin preparation. The potential of new materials was skilfully realised but elements of existing technological practise continued. It is difficult to establish a case for Indian dependency when acceptance of introduced items, contrary to Eurocentric accounts, was by no means wholesale. There was instead, a mutual inter-twining of cultures. In fact, trade goods were often used in conjunction with native materials and sometimes rejected altogether. Careful creative choices were made regarding such factors as colour, lustre, and sound. Trading was seldom a simple procedure since there were sometimes hidden nuances. Goods could fulfil expressive symbolic, magic, prestige or status functions poorly recorded and comprehended by Europeans. Paradoxically, far from becoming dependent or Europeanised, in the days of the declining fur trade, it will be evident from this thesis that Native Americans produced clothing which became flamboyantly ever more distinctive and innovative as their three hundred year period of usefulness in their own right to Europeans as fur traders ended.

No description available.

Thesis (BTech (Fashion Design)--Cape Peninsula University of Technology, 2010 / The study within my context is one of a personal nature with regards to the suitable selection of fabrics for a ladies clothing range. I've always played around with the idea of designing a ladies clothing range using hessian as my fabric of choice, not for any particular reason in mind just simply, ... ."that's what I felt like doing at the time", this however was not received well, it was considered by lecturers, my peers and family members, as an inappropriate selection of fabric for a ladies clothing range. This lead me into thinking that as a designer I am bound by design ideals which restricts my creativity to explore and experiment. Is it then not a possibility that I could set my own design ideal? Given the negativity surrounding such a proposal, I chose to research this concept regardless, that is after all what research is about, exploration and experimentation. I chose to follow in the footsteps of the late Gabrielle "CoCo" Chane!. "In order to be irreplaceable one must always be different." Chanel(icelebz.com,2009)

Thesis (MTech(Education))--Cape Technikon, Cape Town,1998 / This study investigates the industry component of cooperative education programmes in Clothing as offered by the Clothing Department at the Cape Technikon relevant to the Western Cape. The character and nature of co-operative education came under general scrutiny. The structure of any cooperative educational program consists of two components; the academic and the industry component. Within this structure, a few attendance patterns are used to employ students in industry. This employment of students bridges the gap between the academic component and practice. The co-ordinator of co-operative education is responsible for the supervision over and application of specific tasks to ensure the successful completion of the industry component. The professional tasks include the identification and recruiting of workstations, the placement of students, the orientation of both the employer and student, the monitoring of the students' progress, as well as the evaluation of the students' work. The important role of the advisory committee cannot be underestimated in order to ensure successful completion of the co-operative educational programs. It should be properly constituted with specific functions with regards to the industry component. A qualitative study was undertaken to describe the course of the current industry experience in Clothing at the Cape Technikon. Discussion forums, personal interviews and a literature study serve as the foundation of this investigation.

Thesis (MTech (Business Administration (Entrepreneurship)))--Cape Peninsula University of Technology, 2015. / Background: Previous studies have shown an on-going entrepreneurial failure in general and in the South African clothing industry in particular. Insufficient entrepreneurial skills are one of the major causes of entrepreneurial failure of which accounting skills plays a pivotal role towards entrepreneurial success. Previous studies reveal that accounting skills are essential for entrepreneurial success; hence there is a need to conduct further studies on bookkeeping competence.

Master of Arts / Department of Modern Languages / Sara R. Luly / In Das Leben der Hochgräfin von Rattenzuhausbeiuns, written by Bettina von Arnim and Gisela von Arnim Grimm, the material used to dress the bodies of young girls is unexpected and non-traditional. There are characters clothed in dresses made from the pages of books, bearskin coats, butterfly wings, onion root wigs, and many other bizarre materials. The main protagonist, Gritta, experiences, what Katheryn B. Stockton conceptualizes as “sideways growth,” or a non-linear, non-heteronormative childhood. The initial book-dress foreshadows the developmental possibilities for the protagonist Gritta. In this paper I argue that the text uses clothing made of non-traditional materials to construct queer girlhood for the female characters, and in doing so provides possible paths of “sideways growth.”

South Africa has abandoned apartheid and re-entered the global economy where factors like the lack of global competitiveness and global recession, amoung other factors, are contributing to poor performance of South African firms. This poor performance has resulted in many firms restructuring, shrinking, closing down and losing hundreds of thousands of jobs. The South African government is promoting SMEs as alternative employment source. The problem is the high rate of SMEs closure. To sustain jobs, SMEs must survive and grow. Critical to aiding SME growth is the understanding of various internal and external factors which determine success or failure. This study investigates “skills” as one of the significant internal factors. The literature reviews eight models by authors Glancey (1998), van Vuuren&Nieman (1999), Erikson (2002), Wickham (1998), Man et al (2002), Ucbasaran et al (2004), Darroch&Clover (2005) and Perks&Struwig (2005) to present the integrated model for entrepreneurial performance as “integrated ↑E/P = f(key skills) x [1 + h.(supporting skills)] ”. The key skills are represented as multiplicative, symbolising the fact that the absence of any one key skill will lead to zero performance. Based on this model, several propositions are put forward. The aim of this study was to investigate whether the key set of competencies identified by the eight models reviewed (as presented in the detailed model) can be applied to a specific industry (the textile and clothing industry) at a specific geographic location (Johannesburg). The cross-sectional, ex post facto, formal empirical study involved interviewed 570 manufacturing SMEs (197 successful and 373 less successful SMEs). The study ascertained which skills the SME owner/managers perceived as important for success; how they rated their competencies in the said skills; and whether they had been trained in those skills. The instrument used was a structured questionnaire. The statistical analyses included descriptive statistics, frequencies, factor analysis, Cronbach alpha coefficient, Chi-square; t-test and one-way ANOVA tests. The analysis was concluded with a Scheffe’s multiple comparison procedure. The main findings of the study are: 1. Key skills that enhance SME success include the ability to gather resources, marketing, motivation, legal, financial and operational management skills. 2. Successful SMEs considered key skills to be more important and rated themselves more competent in most of the key skills than did less successful SMEs. 3. Successful SMEs had been trained in more skills categories than less successful SMEs, with most of the successful SMEs having received training in all the key skills identified. This study recommends that the training of SMEs should focus on developing those skills identified as key internal factors influencing SME success by following the training model “Training for ↑E/P = training in key skills x [1 + training in supporting skills] ”. The study concludes by listing limitations and suggesting further research. / Thesis (PhD)--University of Pretoria, 2009. / Business Management / unrestricted