In this Master of Interior Design practicum project, the tenants of Andre Breton’s Surrealist theory inform the design of a commercial fashion studio and showroom in the adaptive reuse of a vacant warehouse in Bushwick, New York. The project looks at the circumstances of creative activity for fashion design production. The purpose is to investigate how the interior environment induces spontaneous creation: how one’s working environment influences the work, and conversely how the content changes the interior. Relevant theories on imagination and experimentation in art practice have been used as a foundation for design exploration, primarily through automatism in painting. The design process therefore demonstrates how the correlative relationship between Surrealism and creativity can be evidenced through interior spatial representation. Exterior and interior form and materiality inform the spatial experience and respond to the post-industrial context.

Thesis (Ph. D.)--Princeton University, 1991. / Includes bibliographical references (p. 405-443). Also issued in print.

Thesis (Ph. D.)--Princeton University, 1991. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 405-443).

Thesis (MArch (Prof)) -- University of Pretoria, 2008. / Abstract in English.

Exegesis (BA--Art and Design) -- AUT University, 2008. / Includes bibliographical references. Also held in print (xix, 101 leaves : ill. ; 30 cm.) in City Campus Theses Collection (T 338.47746920993 FIN)

No description available.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

Thesis (M.M.S.)--University of Waikato, 2009. / Title from PDF cover (viewed August 31, 2009). Includes bibliographical references (p. 161-174)

Thesis (Ph. D.)--University of Chicago, Dept. of Germanic Studies, December 2000. / Includes bibliographical references. Alsoo available on the Internet.