Orientador: Marizilda dos Santos Menezes / Banca: Roberto Alcarria do Nascimento / Banca: Marly de Menezes Gonçalves / Resumo: A pesquisa mostra-se como instrumento para propror uma reavaliação das ementas das disciplinas relacionadas ao desenho inseridas no curso de Design de Moda da Universidade de Londrina. Para tal, é realizada uma avaliação da utilização desse tipo de representação gráfica no âmbito industrial, ou seja, sua utilização no contexto industrial de vestuário local. A pesquisa baseou-se em uma fundamentação teórica acerca do papel da representação gráfica no design e no design de moda, que norteou a construção de um protocolo, que foi aplicado a seis designers de moda, atuantes em empresas de confecção diferentes da cidade de Londrina e região. Integrando os resultados dessa pesquisa de campo concomitante às análises de fundamentação teórica aplicadas no âmbito acadêmico e pesquisa bibliográfica, têm-se então uma visão geral das necessidades das empresas no que tange o desenho de moda. A partir destas necessidades delimitadas ocorre uma comparação das mesmas com as ementas, buscando atingir uma congruência de resultados que satisfaça as necessidades mercadológicas sem desvincular-se dos valores acadêmicos fundamentais / Abstract: Research shows itself as an instrument to propose a reassessment of menus related to the design of the disciplines included in the course of Fashion Design at the Universidade Estadual de Londrina. For such an evaluation is perfomed using this type of graphical representation in the industrial field, ei its use in context of local garment industry. The research was based on a theoretical foundation about the role of imaging in the Design and Fashion Design, which guided the construction of a protocol, which was applied to six fashionb designers working in different companies in the city of Londrina and region. Integratind the results of this research field concomitant to the analysis of theoretical and applied research in the academic, literature, it has been an overview of the needs when it comes to fashion design. From these needs is a bounded compared with the same menus, trying to achieve a consistency of results that meet the market needs not closely related to the fundamental academic values / Mestre

Este trabalho versa sobre o universo da arte tangenciado pela moda, sua efemeridade, pertencimentos e seus agenciamentos. Nesse contexto, busca-se exemplificar o quanto a moda e a arte estão intrinsecamente ligadas. O ponto de partida é a moda como experiência e expressão coletiva e/ou individual, principalmente em trajes e formas vestimentares, pois são esses que mais forte influência exercem sobre o homem, seu corpo, seu espaço e memória. Localiza-se esse processo de aproximação entre arte e moda no século XX, quando vanguardas romperam com o academicismo clássico, agregando à arte sinestesias de sistemas relacionais. Rejeitam-se intermitências escultóricas e pictóricas para dar lugar a linguagens que interagem com o espectador. Os dados do presente trabalho traçam o panorama da aproximação entre arte e moda, a partir de duas vertentes: a primeira demonstra como a arte busca, no traje, suas sinergias, influenciando-se e apropriando-se da sinestesia proporcionada pela roupa; a segunda, como a moda apropriou-se de elementos da arte, em busca de um reposicionamento como expressão e não somente consumo / This work discusses the art universe touched by fashion, its ephemerality, belongings and its relations. In this context, the purpose is to exemplify how fashion and art are inextricably linked. The starting point is fashion as an experience and as an expression, which can be collective and/or individual. Fashion is mainly comprised by clothes and raiment, because these are the forms that have more influence on the human, his body, his space and his memory, on this way the process of art and fashion approximation occurred in the Twentieth Century, when the vanguards broke down to the classic academicism bringing to art a intersection of feelings and relational systems. The sculptural and pictorial intermittent manifestations gave place to languages that interactes with the spectator. The data presented in this work show how art and fashion approached themselves, focusing on two slopes: the first one is how art seek on clothes its synergies, influencing itself and assuming the effects of the intersection of feelings created by clothes, and the second one is how fashion arrogated arts elements in order to be viewed as a way of expression and not only as an ordinary expenditure

Can a sound itself be a garment? This practice-led research explores the sound of garments and fashion, which is unheard, unspoken or overheard, to suggest a new perspective for reconsidering garments and fashion. Through experiments with making, wearing and displaying, the research examines the sound, voice or silence embedded in garments and fashion and affective experiences aroused from garments as atmospheric spaces. A new term, ‘dress-scape’, is introduced and discussed through a series of practical and theoretical approaches to the concept. The research suggests that the dress-scape of a garment emerges as the resonance of sound, voice, noise or silence from the interplay between the garment and the maker, the wearer or the viewer. As the research attempts to locate fashion in a new place, the practice varies significantly from that in conventional garments. The maker rather explores non-wearable garments, other artefacts, installation, film and sound-making using diverse mediums. The practice, in turn, oscillates between fashion and art practice. The journal entries exist as a documentation of the maker’s reflections on the research journey and contribute to the development of both practical and theoretical renderings of the research. Inspired by the notion of ‘tacet’ (broadly, ‘silence’) as used in John Cage’s work, 4’33”, the research aims to invite the reader, the viewer and the listener to be silent and to ‘listen’ to the research, together with the maker, who also acts as the author and the composer. Thus, rather than acting as a series of problem-solving investigations for knowledge acquisition, the research is essentially the journey of the investigation of the maker’s tacit awareness of other related issues including modernist artists, film, architecture, the relationship between fashion and art, and curatorial display. This, in turn, adds to the value of the practice-led research, elevating it to an interdisciplinary study.

<p> When one thinks of the fashion industry, one might think of famous designers and celebrity fashion shows. Today, fashion is a $1.2 trillion global industry, employing 1.9 million people in the United States, creating a positive impact on regional economies across the country (JEC, 2015; US Department of Labor, Bureau of Labor Statistics, 2017). Presently, 90% of apparel design and production has gone overseas or elsewhere in the world (Robinson, 2013). Manufacturing today requires &ldquo;universal participation&rdquo; (Bill, 2011); meaning garments designed in one country, made in fabric from a second country, assembled in a third country, then shipped back to the country of the original design, to be sold at retail in a matter of weeks. </p><p> In the past, all one needed to know was some sewing skills, fabric knowledge and garment construction to begin a career in fashion. Today, a career in fashion requires a different set of skills, making fashion education more prevalent and crucial than ever before. The interest in a fashion career has grown over the last decades, requiring many schools once offering degrees in home economics to revisit their fashion courses, revamp their curriculum and rehire faculty with academic degrees, who are currently out in the fashion field. But do students know what actual skills are needed to transition from the classroom out into the field, or recognize good indicators of what a fashion program should offer? This study is designed to research, measure and analyze this phenomenon. </p><p> This study is organized into five chapters. Chapter 1 introduces the topics of fashion education, the fashion industry, and specialized accreditation for fashion programs in the USA, including the research questions that form the foundation for this study. Chapter 2 researches the literature review of previous studies, NASAD, the only accreditation in the USA for all art anddesign programs and profiles of four colleges that offer fashion programs. Chapter 3 discusses methodology and the survey instrument used to collect data. Chapter 4 discusses the results of the survey and Chapter 5 presents conclusions and recommendations drawn from data findings.</p><p>

Photography has been used to record and document periods in time, which Wells (2001:19) acknowledges by stating that, “…photographs are records and documents which pin down the changing world of appearance”. Richard Avedon and Irving Penn made a significant contribution to fashion photography during the 1950s but this has seldom been explored in a scholarly way. By defining the characteristics of Avedon and Penn’s work, a possible understanding of their influence on contemporary fashion photographers, Matthew Rolston and Steven Meisel may be determined and so expand on the understanding of the contribution of Avedon and Penn to contemporary fashion photography. Avedon, Penn, Rolston and Meisel’s fashion photographs will be visually analysed to show the similarities and the relevance of 1950s fashion photography to contemporary fashion photography. Paul Martin Lester’s (2003) method of visual analysis will be used as the basis for this analysis. The reason for choosing Lester’s methods of visual analysis is that it can be applied to all fields of visual art and design. Contemporary fashion photography draws on many different stylistic devices and periods in history for its re-invention, so it is important to understand what constitutes the defining characteristics of a stylistic period in history to be able to revisit it in contemporary photography.

An ethnographic work about Japanese women who wear Lolita fashion, based primarily upon anthropological field research that was conducted in Tokyo between May and August 2014. The main purpose of this study is to investigate how and why women wear Lolita fashion despite the contradictions surrounding it. An additional purpose is to provide a new perspective about Lolita fashion through using interview data. Fieldwork was conducted through participant observation, surveying, and multiple semi-structured interviews with eleven women over a three-month period. It was concluded that women wear Lolita fashion for a sense of freedom from the constraints that they encounter, such as expectations placed upon them as housewives, students or mothers. The thesis provides a historical chapter, a chapter about fantasy with ethnographic data, and a chapter about how women who wear Lolita fashion are related to other fashions as well as the Cool Japan campaign.

La mode est partout et recouvre de nombreux secteurs, produits, et concerne de près ou de loin de nombreux individus. La fidélité aux produits de mode soulève différentes interrogations concernant ce qui incite le consommateur à les choisir, à rester fidèle à la mode et ceci malgré les changements incessants propres à celle-ci. Cependant nous n’avons pas relevé d’approche se rapportant à une explication de cette fidélité basée sur les valeurs apportées par la mode au niveau du produit et indépendamment des caractéristiques physiques et/ou des fonctionnalités de ce dernier. Au cours de cette recherche notre intérêt portera donc sur la compréhension des raisons poussant l’individu à s’associer à la mode. L’analogie par rapport au capital de marque (Keller, 1993), nous incite à penser que de manière similaire à la marque, la mode apporte de la valeur ajoutée au produit en comparaison à ceux jugés non mode. Nous introduirons le concept de capital de mode afin d’appréhender cette valeur ajoutée que la mode apporte aux produits. L’analyse qualitative menée confirme les valeurs ajoutées par la mode au produit que nous avons identifiées. De plus, les résultats de l’étude empirique menée auprès de suiveurs montrent, comme cela était supposé, que l’attachement joue un rôle médiateur dans la relation liant le capital de mode à la fidélité au niveau du vêtement et du téléphone mobile. Les valeurs ajoutées par la mode contribuent donc au développement d’un attachement et d’une fidélité de la part de l’individu à l’égard de ce qui est mode dans les catégories de produits étudiés. Notre recherche propose ainsi une explication de la fidélité à la mode grâce au capital de mode. / Fashion transcends domains, applies to almost any kind of product and concerns many people. The loyalty towards fashion products raises questions about why and how products appeal to consumers, despite their constantly varying attributes. Furthermore, little is known about how fashion trends may induce people to stay loyal to fashion products. We are not aware of any other approach that explains consumer behavior on the basis of fashion value per se, that is, that a fashion product is of interest because it is explicitly perceived as a fashion item. We propose a new explanation for consumers’ interest in and loyalty to fashion products. Extending the concept of consumer-based brand equity (Keller, 1993), we propose that consumer-based fashion equity may account for the role that fashion plays, in determining consumers’ loyalty—similar to the way brand equity explains why high equity brands appeal more to consumers than do low equity ones. We introduce the concept of fashion equity to account for the value that fashion adds to products. The exploratory study conducted with followers confirms the values added by fashion to product and the results of our analysis demonstrates that attachment is a mediator in the relationships fashion equity-attachment-loyalty for fashion clothe and mobile phone. Therefore, these values contribute to the development of fashion attachment and fashion loyalty. Our research suggests an explanation of loyalty towards fashion thanks to fashion equity.

This practice-led PhD proposes alternative practices in a research and design context that explore the intersection of fashion, fine art and performance methodology and practice. The project exposes and documents the emergence and development of conceptual and experimental fashion and interdisciplinary practice at the edges of the fashion discipline. The research provides new insights into the way fashion designers can work conceptually and how their work might be perceived differently, dependent on contexts of presentation. It investigates how the concept behind the design and the context of presentation affect these readings for both the viewer and the wearer. It uncovers the emotional and experiential factors of fashion and exposes how we experience and respond to clothing/fashion in a variety of contexts. The thesis draws attention to the lack of specific identification given to conceptual thinking in fashion design as an outcome within its own right and proposes new applications and approaches to this practice. The research methodology developed within the practice extends the potential of communicating body related concepts to wearers and viewers through the medium of clothing worn on the body and can be applied in part or whole across a range disciplines. The thesis synthesises a body of knowledge to inform practitioners of conceptual fashion and reveals the complexity of communication between designer, wearer and viewer of conceptual fashion in specific contexts. The researcher has designed collections of concept-based work, which are not driven by market constraints, trends and seasons but by concepts and processes. These collections have been tested and analysed in a variety of contexts and written up as three major case studies. The process of design developed within this research focuses on the body, movement and behaviour; through experimentation and testing it reaffirms the emphasis on the creative process allowing for consideration of context as fundamental to the communication of embodied concepts. It is argued that it is necessary for fashion designers to review the way in which they design for specific contexts such as dance, exhibition and areas of fashion promotion and communication. This requires a different approach that pays attention to both concept and context at the point of inception.

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