Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao Lavinnia Seabra Gomes.pdf: 4133155 bytes, checksum: 76db450d0f822c64c63bbf09e3d6a425 (MD5) Previous issue date: 2007-04-11 / This dissertation developed on the line of studies in Contemporaneous Processes of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts University, from UFG (Federal University of Goiás) resulted in plastic productions, were fashion and tecnics of figure, blend toghether forms, materials and images. The objective of this work, was concetrated on the matrixies creation, that didin t fall into the ordinary tradictional element, and could be applied to the clothing element, without loosing its main features or the question of the multi. The couttion linking some objects the concepts of protection, decency or tradictionally ornament related to fashion. The important factor in this research is highlight the possibillity of conceiving the figure impression in another type of support, in our case, 3 dimensional (clothes), and conceive those images trough electronic devices, without leavingout the multiplicity principles and impression. All the time we have been searching for another form of visual conception of figure between the mode and all of yours industrials tendences. So many ideas and questionings have come up as webecame more and more familiar with the process, and what is pointed to another series of creative utilization. Following that line of poetic study, owing particularity, what singled each student of art, thoes productions make o out experiences of world in something to be admirable or not, favoring each receptor of plastic produtions, or diferents interpretations what give to then the better understanding. / Esta dissertação desenvolvida na linha de pesquisa em Processos Contemporâneos de Produção de Imagens Visuais do Mestrado em Cultura Visual da Faculdade de Artes Visuais da UFG resultou em produções plásticas em que a moda e as técnicas da gravura se mesclam em formas, materiais e imagens. O objetivo deste trabalho esteve centrado na criação de matrizes que fugissem do tradicional da impressão em relevo e que pudessem ser aplicadas ao elemento roupa, sem perder a característica principal, ou seja, a questão do múltiplo. Em nenhum momento tem-se a preocupação em vincular a tais objetos os conceitos de proteção, pudor ou enfeite tradicionalmente relacionados à moda. O fator importante nesta pesquisa é destacar a possibilidade de conceber a impressão da gravura em outro tipo de suporte, no nosso caso, o tridimensional (roupa) e conceber as imagens através de equipamentos eletrônicos sem se esquecer dos princípios de multiplicidade e impressão. A todo instante buscou-se outra forma de concepção visual da gravura através da moda e de todos os seus aparatos industriais. Muitas idéias e questionamentos surgiram, à medida que se conhecia mais a fundo o processo de impressão da gravura e que instigavam a uma outra série de utilizações criativas. Partindo do pensamento de que a pesquisa poética possui uma particularidade que singulariza cada pesquisador artista, estas produções exteriorizam experiências de mundo em algo para ser admirado ou não, favorecendo a cada receptor das produções plásticas a interpretação quê melhor lhe convier.

A pesquisa se propõe a investigar o modo como mulheres acima de 20 anos e de diferentes faixas etárias constroem singularização por meio de consumo de moda. A base teórica foi constituída a partir de autores pós-­‐estruturalistas como Bauman, o qual indica o conceito de individualização. Também compõem a base teórica -­‐ Lipovetsky, Guattari e Rolnik, Maffesoli, Canclini, Svendsen, Miranda e outros que operam com os conceitos de moda e consumo. A perspectiva metodológica adotada foi de entrevistas em profundidade através de roteiro semiestruturado, com seis mulheres com laços de parentesco (três pares de mães e filhas), afim de entender os processos de consumo, apropriações de vestuário e uso de acessórios de moda, bem como a interferência na construção de processos de singularização. Os resultados da pesquisa apontaram para a existência desses processos em todas as mulheres entrevistadas e também para interferências geradas pelos laços de parentesco em cada par. A singularização se dá na composição entre consumo e conservação superdimencionando as possibilidades de uso numa mistura de expressão coletiva com assinatura própria. É um processo que remete à autonomia e que é constituído de avanços e retrocessos, está atrelado à mudanças que estão associadas não só ao amadurecimento, mas especialmente, diferentes formas de interpretação dos fatos nas quais se originam também o comportamento por meio do consumo de moda e suas derivações. / This work aims to investigate how women of different age groups and over 20 years build singularization through fashion consumption. The theoretical basis for the singularization concept was established upon post-­‐structuralist authors like Bauman, while the fashion and consumption concepts came from Lipovetsky, Guattari and Rolnik, Maffesoli, Canclini, Svendsen, Miranda and others authors. The methodological approach adopted in this research was in-­‐depth semi-­‐structured interviews, with six women with family ties (three pairs of mothers and daugthers), in order to understand the consumption processes, clothing appropriation and the use of fashion accessories, as well as the interference in the construction of singularization processes. The survey results point to the existence of these processes in all interviewed women and also to interference generated by parentage in each pair. The singularity occurs in the composition of consumption and conservation overestimating the possibilities of using a mix of collective expression with its own signature. It is a process that leads to autonomy and which consists of advances and setbacks, it's linked to changes that are associated with not only to the mature process, but specially to different interpretations of the events in which had also origin the behavior through fashion consumption and its derivations.

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This dissertation provides a critical discursive analysis of videos, blogs, and social media posts created by two African-American Muslim women who live in the Southern United States, Najwa Niang and Nadira Abdul-Quddus, who make up the, group, Muslimah2Muslimah. As African-American women who do not speak Arabic, Najwa and Nadira fall outside of normative institutions of Islamic learning. Thus, they have taken to YouTube to create their own interpretive communities based on their interpretations of English translated versions of the Qur’an and hadith. Through fashion and beauty tutorials on YouTube, Najwa and Nadira they perform a new Muslim cool, centering their Blackness, and challenging hegemonic formulations of Islam that subordinate African-Americans. I argue that for Najwa and Nadira, fashion is a form of embodied theology. The use their stylized bodies to reimagine religious authority, knowledge transmission, and the image of Muslim womanhood by centering Black expressive culture. My dissertation provides an important intervention in the fields of religious studies and material Islam, highlighting how debates around race and gender are enacted in everyday life.

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Poly'nAsia is a practice based research project that identifies and builds from the affinities between traditional Tongan and Indian textile techniques. It seeks to explore and synthesize the parallels between two textile traditions - tapa1of Tongatapu in Tonga and kalamkari2 of Masulipatnam and Kalahasti in Southern India.The project functions within the framework of the wider cultural and social contexts. It does not follow a strictly premeditated path or a rigid time line. An intuitive, organic approach is adopted instead, to complement cultural traditions, taking time to build understanding, trust and respect. A collection of contemporary fashion garments and textiles is produced, inspired by yet distinct from these traditional textiles. The collection is synthesized i.e., it combines elements of tapa and kalamkari to form a coherent whole. This collection has contemporary relevance, while retaining the traditional handcrafted component of tapa and kalamkari. The investigative and creative process that culminates in the Poly'nAsia collection is documented in this exegesis. The collection was presented at a fashion show on 3rd February, 2005.

Success in fashion design is important both in its own right and because it has positive influences on the culture of a country and because of the favourable ramifications it can have across many unrelated industries. This dissertation investigates the Australian fashion design industry and asks whether there is a place for a semi-autonomous industry regulator of the kind found in other countries. France is a natural choice as a model because on the one hand it has the most success and enjoys the highest prestige in international fashion design, and on the other it has a well-developed support and accreditation structure, the Federation Francaise de la Couture, du Fret-a-Porter des Couturiers et des Createurs de Mode. The Federation oversees the whole process, promoting and protecting innovation in the industry and laying down the criteria used in fashion accreditation. These observations led to the question, if a parallel fashion designers' organization were introduced in Australia, what are the chances it would be suitable and effective? To answer this question, interviews were conducted in Australia and in three European countries. The major systematic enquiry was based on a sample of 48 local industry people in key positions in media, commerce and education, who were encouraged to describe and evaluate the industry and to supply answers to a systematic survey document. Candour was promoted by the anonymity of the survey process. The major outcome in terms of evaluation of the industry was that for historical and structural reasons Australian fashion design is not characterized by a high volume of original work. Consequently it is not having much impact internationally and the upper echelons are not providing the basis for downward diffusion of ideas. If the standard (French) classification were applied to Australia, the bulk of the labels would be categorized at the lower end of the scale. The informants provided a strong consensus regarding the nature of the shortfalls including the undue emphasis given to derivative design, the lack of special support for young talent and the low priority given to the synergy between art and high quality craftsmanship. There was agreement that Australian fashion designers should not focus on product just for local consumers, because fashion in clothing is not central to the minds of the average Australian as it is for example in European countries. Fashion designers might be wise to exploit the position of Australia on the edge of the Asian subcontinent and the pool of potential design talent from other countries within the Australian population. By drawing from the new aesthetics emerging in Australia's pluralistic society, designers could easily be at the cutting edge internationally. They might showcase their work at overseas venues, although not necessarily, in the first instance, in countries like France. Although a full-scale federation-type organization might fail for want of a solid innovative industry upon which it might be based, a limited version of such a controlling body could well succeed. Its task would he to steer new directions in education which develops a pool of creative talent through master classes which focus on understanding original design, the importance of the manual aspect in design and the mechanisms of, and rewards stemming from diffusion. Sponsorship should be granted to endeavours by a collective of such talent to showcase designs abroad. Government funds should be redirected away from the promotion of a generic product to a fashion-designing paradigm emphasizing 'designer handwriting' as the value-added aspect. In addition to exploring these issues, this dissertation provides reflections on the nature of the design process and suggests ways in which fashion design and fashion design education might move to revitalize the industry.

This body of work is the result of practice based research, culminating in a collection of five garments featuring pictorial prints, created through digital sublimation printing¹. The accompanying exegesis examines the place of my work within the contextual framework of related knowledge. The exegesis explores two main contextual notions. Firstly, the position of dolls' clothing play as a hegemonic tool in the process of learning to construct identity through self-presentation. This reflects on the practice of enculturing in girls the ability not just to do, but to observe oneself whilst doing. Secondly, the role of garments and fabric as liminal² markers at the transitional space between interior and exterior, domestic and public, self and not-self. My analysis is centered on the creation of original pieces of clothing. The garments are questioned by the issues explored in this exegesis. The research makes an original contribution to the body of knowledge by the nature of the creative work, and its analysis involving contemporary theoretical debate on the nature of fashion. ¹ Sublimation printing is a method of chemically bonding ink to a polyester or acrylic surface such as fabric, using extremely high heat and pressure. In this research project I am bonding images of photographs to polyester and acrylic fabrics. ² In this exegesis I use the word liminal to describe an occupying of an ambiguous space, on the threshold between one thing and another.