The focus of this degree work is on material interaction within the field of knitwear. Material combinations are often seen in fashion as a decorative effect to add shine, transparency or blocks of colour. The materials are put together as one flat material. This work embraces the different qualities and explores the possibilities to use material interaction as a way of creating form on the body. To achieve this, material experiments have been made to find combinations that had a big impact on each other. The materials that were found to be most suitable for this were the combination of metal and lycra yarn. This combination showed contrast in both volume and in density. The result is a collection of seven examples that is based from square knitted pieces where the interaction changes the form of the material and the garment. Creating form from material combination could lead to a new method of creating garments with larger form possibilities than is seen today in ready to wear knitted garments.

This thesis investigates the complexity of cultural translation of visual language, considering writing systems both a profound shaping force and microcosmic reflection of the central elements of its culture. It focuses on the case of Chinese pictogram in Western everyday fashion; fashion is treated here as a site where the conceptual, aesthetic and cultural dynamics vividly interact with one another. This work probes what tensions are lost and added to the pictograms' cultural meaning in the process of translation, bearing in mind the two different aesthetic philosophies underlining Western and Chinese calligraphies. Seeing the complexity in the change of tensions, the thesis argues that nothing remains "authentic" in cultural translation, but the value of the encounter lies in the possibilities for each culture to reconsider itself in the corrective mirror of the Other.

Thesis--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 111-119).

Thesis (Ph. D.)--Ohio State University, 2007.

The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant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.

Made available in DSpace on 2014-06-11T19:28:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2011Bitstream added on 2014-06-13T20:36:55Z : No. of bitstreams: 1 hatadani_ps_me_bauru.pdf: 1728405 bytes, checksum: 5593ffb65bb361843dacee563de800c7 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / 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 / 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

Submitted in partial fulfillment of the requirements for the Degree of Master of Technology: Fashion, Durban Institute of Technology, 2004. / This investigation focuses on the research and development of a Virtual Learning Environment (VLE) on CD-ROM to prepare Fashion students for a digitally-based industry. / M

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)

Scoliosis of the spine is defined as a side-to-side deviation from the normal frontal axis of the body resulting in body asymmetry, and as a complex, three-dimensional and multifaceted deformity, not only affects a female adolescent’s appearance - fit, usability and appearance of clothing - but can also compromise her health and ability to function. Scoliosis affects at least 2.9% of the population in Greece, appearing particularly among children aged 8-14 years, and more frequently in girls (9 girls for 1 boy). This study traces previous initiatives and current provision for clothing people with divergent body figures, exploring issues at the intersection of human anatomy and fashion, while it takes place in Greece, starting with measuring procedures specifically adapted for body asymmetry that comply with the appropriate code of ethics. External body measurements provide non-invasive evaluation of changes in external asymmetry due to scoliosis, while analysis of the measurements related to the trunk can document the asymmetry arising from the different types and degrees of spinal curvature, providing a 3D classification of scoliotic deformities. Both right and left body halves of 75 females aged 16-22 years of age, diagnosed with Adolescent Idiopathic Scoliosis (AIS), are measured in order to register their different body shapes and to classify them in different scoliotic groups, according to the magnitude and type of their scoliosis. The asymmetric basic pattern blocks derived from the median body measurements for each scoliotic group will be more tolerant of bodies with scoliosis, providing a better garment fit than conventional symmetrical patterns. These new ‘blocks’ will have the potential to be used in mass production, after the development of sizing systems based on body asymmetry, whereby an ‘aesthetic’ and an ‘ethical’ dimension in design could be then incorporated. Applying auto-ethnography, as well as using participant observation and interviewing methods, this research will help gain a deeper understanding of the culture and the needs of the specific target group. Future challenges relate to design perspectives of fashionable clothing for females with non-standard body dimensions, with particular emphasis on scoliosis, having potential for wider application in mass customised apparel for scoliosis.

Esta investigación tiene como objetivo general explicar de qué manera las influencers de moda impactan en el proceso de valorización del lujo para la joven limeña Gen Z del sector A/B, en la actualidad. Para ello, es importante conocer el papel de las influencers como agente de decisión de compra para los productos de lujo, así como explicar la relación entre la valorización del lujo y las influencers de moda mediante objetivos especificos. La presente investigación tiene un enfoque cualitativo de diseño etnográfico. Los objetivos serán desarrollados a través del análisis de información teórica en torno a conceptos como el lujo, influencers y generación Z, así como ténicas de recojo de información: entrevistas semi estructuradas y un focus group a 8 jóvenes limeñas Gen Z universitarias del sector socioeconómico A/B, pertenecientes a distritos como La Molina, Miraflores, San Borja, San Isidro y Santiago de Surco, a las cuales se les preguntará sobre sus conocimientos y percepciones de los productos de lujo en la moda y si es que esta se ha visto afectada por la influencers de moda, ya que se desconoce su posición y experiencia al respecto. De esta manera, se propone responder la siguiente pregunta de investigación: ¿Cómo las influencers de moda en instagram impactan en el proceso de valorización del lujo en la joven limeña Gen Z, del sector A/B. / This research aims to explain how fashion influencers impact the process of luxury valorization luxury for Gen Z young woman of the A/B socioeconomic sector, from Lima, Perú. To do so, it is important to know the role of influencers as a purchasing decision agent for luxury products, as well as to explain the relation between the valorization of luxury and fashion influencers through specific objectives. This research has a quantitative approach and ethnographic design. The objectives will be developed through the analysis of theoretical information around concepts such as luxury, influencers and generation Z, as well as information collecting techniques: semi-structured interviews and a focus group to 8 Gen Z woman, who also are university students and belong to the socioeconomic sector A/B, belonging to districts such as La Molina, Miraflores, San Borja, San Isidro and Santiago de Surco. They will be asked about luxury products in fashion and if their desire of consumption has been affected by fashion influencers content, since their position or knowledge about them it is unknown. In this way, it is proposed to answer the following research question: How do fashion influencers on instagram impact the process of valorizing luxury for Gen Z young woman of the A/B socioeconomic sector, from Lima, Perú.