Intellectual property law theory is premised on a utilitarian justification granting limited time monopolies for encouraging creation, innovation and its dissemination to society. However, in the last several decades, scholars have been mounting empirical evidence to show that in some industries, creativity and innovation exist outside the contours of intellectual property law and thrive despite their lack of reliance on the laws. Instead, what they uncovered is that creators in these industries follow norms that mitigate issues surrounding some kinds of copying. Intellectual property protection for fashion design in Canada is fragmented across a complex legal landscape that entails several different laws, unique in scope, eligibility requirements and rights. This complex framework is not unique to the fashion design industry but is similar for design industries generally. Navigating through these laws can be daunting and thus inaccessible for the some segments of the design industry that are small to medium sized enterprises (SMEs) that have limited resources to expend on legal advice and registration. Using grounded theory methodology and qualitative and quantitative methods, this research explored the use of intellectual property law and social norms by the independent fashion design segment in Montreal and in Toronto and the contours of copying and the public domain. What the empirical research reveals is that independent fashion designers do not use the law to protect their designs and instead, use mechanisms that centre on the negative copying norm. Negative copying is copying that is negatively perceived. It is not necessarily legally infringing or economically harmful, although it can be both. Further, it can apply to subject matter that is not the subject matter of intellectual property law. This norm against negative copying is supported by extra-legal prevention and enforcement mechanisms that have been developed by individuals within the segment in order to mitigate the issue of copying. The empirical research also reveals that in addition to the economic incentives to create, there are also a number of non-economic incentives such as identity and reputational interests that drive creativity and help reinforce the norm against negative copying. Using grounded theory enabled me to draw on literature from a number of disciplines in order to help contextualize these findings and approach the analysis from the perspective of intellectual property theory, policy and law, social norms (sociology and psychology) as well as economic geography, and design.

An average Swede buys 13 kilograms textile material every year, but an average Swede also throws away 8 kilograms every year. Adding a layer of exponential growth, I wonder what will happen with these numbers over the years and more importantly – how will it affect the emotional life of the consumer? Over the years I have developed an interest in the systemic entanglement of fashion – mainly as the urgency to create systemic shifts only has increased.  Fashruption is a happy marriage of the words fashion and disruption, and forms the title for this travelogue, exploring what a fashruption could be. Fashion – that adorns the bodies to showcase the self in the social. A phenomenon in constant dynamic flow of becoming, that thrives on an expiration date. And disruption – that perhaps can release space for a renegotiation on the ways we create identities and consume fashion. But what kind of disruption has the power to challenge current behaviours? This project is divided into two parts; first a problem setting design process focusing on exploring emotional logics (or illogics) that fashion is intertwined with, extracting reflections on relationships between production–consumption–creation of identities–waste. Secondly, a fashruption is suggested to be a large-scale campaign directed towards people with future-orientated momentum. It will present a strategy proposing ideas of designed material that gives space for self-reflection at the same time building knowledge, aiming to construct publics – who has the possibility to renegotiate the terms upon which they live.

Due to the massive amount of postconsumer clothing waste, there is a great opportunity to utilize the discarded garments through playful methods push the imagination towards new innovative solutions. This work aims to redefine and give the discarded garments new values through exploring garment definition through characteristic lines of dress as a filter to view a garment. It deals with questions such as, what defines a specific garment and how many lines needs to be added to understand what it is. It was resulted in creation of an archive consisting of 32 pieces which shows the potential in changing the perception of unwanted/discarded garments, by literally reframing them. This work propose a new method for reusing garments without taking the garments apart but instead look at all the potential that is given within it.

La presente investigación tiene como objetivo general examinar cómo influye el tatuaje en el diseño de moda de dos marcas limeñas: “PerroLoco” y “No Brand”. La problemática de la investigación surgió al observar que, a nivel internacional, los casos en que dos artes visuales como son el diseño de moda y el tatuaje han trabajado en conjunto, son escasos en comparación a los casos en que otras artes visuales han interactuado con la moda. Al investigar la bibliografía se descubrió que con la llegada de una corriente de pensamiento como es el posmodernismo, las ideas de lo que era considerado arte han cambiado, eso ha dado oportunidad a que artes relegadas como la moda y tatuaje puedan relacionarse entre sí. Sin embargo, tanto la moda y el tatuaje son actividades que han enfrentado y siguen enfrentando muchos prejuicios como el de no ser consideradas artes. Este prejuicio afecta la interacción entre ellas debido a que no se considera que el trabajo conjunto entre ambas actividades añada valor. Esta investigación bibliográfica será complementada mediante una investigación de campo cualitativa con enfoque del estudio de casos de dos marcas que utilizan el tatuaje como recurso en sus diseños. De esta manera, se espera comprender la realidad de este contexto, la motivación de estas marcas a usar el tatuaje como recurso de diseño, el proceso de la interacción de tatuaje y moda y los prejuicios existentes contra estas actividades. / The present research has the general objective of examining how tattoo influences the design of two Lima fashion brands: “PerroLoco and No Brand”. The research problem emerged while observing that around the world the cases in which two visual arts such as fashion design and tattoo have worked together, are few compared to the cases in which other visual arts have interacted with Fashion. When investigating the bibliography, it was discovered that with the arrival of a current of thought such as postmodernism, ideas about what is considered art have changed. This situation has allowed relegated arts such as fashion and tattoo to be able to relate to each other. However, both fashion and tattoo are activities that have faced and continue to face many prejudices such as not being considered arts. This prejudice affects the interaction between them because the joint work between both activities is not considered to add value. This bibliographic research will be complemented by qualitative field research focused on the case study of two brands that use tattoos as a resource in their designs. In this way, it is hoped to understand the reality of this context, the motivation of these brands to use tattooing as a resource, the process of tattoo and fashion interaction, and the existing prejudices against these activities.

The human body has been considered to be an active element and is a common starting point of fashion design processes. However, during these processes, understanding of the body and how it is used to design is often confined by the body’s standard spatial and structural characteristics. The research presented in this thesis aimed to examine body alternatives in fashion design processes in order to explore and open up for alternative body expressions for developing silhouettes for clothing.  Alternative aesthetic approaches and understandings of the body as a design tool were researched through experimental explorations, reflections, dialogue, and discussions. These created an embodied dialogue between thought and execution which was further developed and informed by the EDI (Embodied Design Ideation) framework for analysing and refining understandings of the interactions between the body, materials, and movement. These explorations and their outcomes bridge the theory of research for the art and research for art and design.   The explorations were based on the varied ways in which the body is perceived during body-material interactions, and were explored through movement, human-technology interfaces, and an exploratory workshop conducted at the Swedish School of Textiles. These explorations expanded our understanding of the body’s aesthetics in relation to material interactions and embodied experiences. The explorations questioned our preconceived conceptions of the body and facilitated a process of re-learning these through fashion design.  The results of the explorations were alternative methods and tools that use the body as a central variable in fashion design. The research culminated in the development of conceptions of the body in design processes that increase the design possibilities by introducing new concepts, tools, and methods. The body alternatives developed provide an openness in terms of design thinking and introduce conceptions of the body that can facilitate or improve design practice. The results have implications for design methods and contribute to methods in general and fashion design education programmes in terms of how they facilitate design processes.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

Esta tese propõe-se a refletir a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que se refere à (in)sustentabilidade. A pesquisa, qualitativa, desenvolve-se sob o enfoque epistemológico do materialismo históricodialético e se encontra estruturada de modo a representar o caminho percorrido. Em relação à perspectiva teórica, adota como ponto de partida o cenário da insustentabilidade, cujo percurso histórico e analítico permite entender sua estreita relação com o design de moda, e busca compreender, a partir de um olhar crítico e contextualizado a respeito da atividade, suas potencialidades em relação à sustentabilidade. Ao admitir a necessária transformação da prática em design de moda, mediante o exame a respeito dos paradigmas educacionais do ensino em design admite sua igualmente necessária alteração e, diante do cenário delineado a respeito do ensino superior em design de moda no Brasil, identifica, na predisposição dos cursos de bacharelado em incluir a questão da sustentabilidade em seus currículos, um campo pertinente a ser explorado. A partir da compreensão de que é preciso ir além de uma inclusão pro forma da questão nos currículos - e, portanto, da necessidade de explorar em profundidade a realidade do ensino superior em design de moda -, a pesquisa investiga, a partir de uma perspectiva empírica, a situação de três cursos de graduação no Brasil em relação à (in)sustentabilidade, buscando compreendê-los em sua pluralidade e singularidade: o bacharelado em Design de Moda da Universidade Anhembi Morumbi (SP), o bacharelado em Design de Moda da Universidade Estadual de Londrina (PR) e o bacharelado em Design - Moda da Universidade Federal do Ceará (CE). Complementarmente, investiga ainda os pontos de vista de professoras e pesquisadoras envolvidas com o objeto na Inglaterra, Finlândia e Dinamarca. As investigações revelam impressões não previstas ou de explicação insuficiente, se considerados unicamente os conteúdos abordados inicialmente no referencial teórico. Os olhares que constituem o cotidiano dos cursos no Brasil - institucional, docente e discente - desvelam questionamentos subjacentes à pergunta que norteia esta pesquisa e inferem que uma formação crítica e ativa no que diz respeito à (in) sustentabilidade se relaciona, para além dos conteúdos, à forma como estes são articulados. As perspectivas internacionais, não se atendo a conteúdos específicos, mas à forma como eles são articulados e a caminhos e desafios relacionados, repercutem e complementam as análises depreendidas em um contexto nacional. A pedagogia crítica freiriana emerge, então, como um espaço formidável e fecundo de diálogo, e o referencial teórico que se constrói a partir dela possibilita completar a reflexão a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que tange à (in)sustentabilidade: a formação que permite ao aluno, por meio de sua prática, desafiar o status quo em seu campo de atuação; a formação na qual o design de moda é ensinado, aprendido e praticado como um possível ato de proposição transformadora. / This dissertation proposes to reflect on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability. The research is qualitative and developed under the historical-dialectical materialism epistemological approach, and is structured in such a way as to represent its development. Regarding a theoretical perspective, the research adopts, as a starting point, the unsustainability scenario, whose historical and analytical path allows us to understand its close relationship with fashion design. It seeks to understand, from a critical and contextualized look at fashion design activity, its potential in relation to sustainability. By admitting the necessary transformation on fashion design practice, in parallel, through examining the educational paradigms of design teaching, it admits their equally necessary transformation, and before the outlined scenario of fashion design higher education, in Brazil, it identifies in the predisposition of bachelor\'s degrees to include the issue of sustainability in their curricula, a relevant field to be explored. From the understanding that it is essential to go beyond a pro forma inclusion of the theme in the curricula, and therefore of the need to explore in depth the reality of fashion design higher education, the research investigates, from an empirical perspective, the situation of three undergraduate courses in Brazil regarding (un)sustainability, seeking to understand them in their plurality and singularity: Fashion Design bachelor\'s degree at Anhembi Morumbi University (SP), Fashion Design bachelor\'s degree at State University of Londrina (PR), and Design - Fashion bachelor\'s degree at Federal University of Ceará (CE). In addition, it also investigates the points of view from professors and researchers from England, Finland and Denmark who are involved with the object. The study reveals unexpected impressions, or of insufficient explanation if only the contents initially tackled in the theoretical framework are considered. The insights that make up the daily life of the courses in Brazil - institutional, teaching and student - reveal underlying questionings to the main question that guides this research, and infer that a critical and active formation regarding (un)sustainability relates to, beyond the contents, the way in which they are articulated. The international views, not focusing on specific contents, but on how these are articulated and their related paths and challenges, echo and complement the analysis realized in a national context. The freirian critical pedagogy then emerges as a formidable and fruitful field for dialogue, and the theoretical framework that builds up from it makes it possible to complete the reflection on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability: the formation that allows the student to challenge the status quo, through his/her practice, in his/her field of action; where fashion design is taught, learned and practiced as a possible act of transforming proposition.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

[pt] Esta pesquisa trata das questões ergonômicas da relação da idosa com o vestuário do dia-a-dia. Com o envelhecimento da população mundial, os avanços da medicina, das novas tecnologias e a expressiva diminuição da taxa de natalidade em todo o mundo, torna-se necessário um estudo da relação dessa nova idosa com o vestuário, uma vez que sua vida profissional e social permanece por mais tempo. A visão que se tem hoje dos idosos é bem diferente da anterior, inclusive a percepção deles próprios, principalmente em relação ao comportamento. Entretanto, acredita-se que o vestuário pronto para vestir existente no mercado não contempla as transformações do corpo da mulher idosa. Com as transformações decorrentes da idade, essas mulheres acabam apresentando um corpo diferenciado dos padrões de vestuário existentes no mercado. Além disso, as idosas da faixa de 60 a 75 anos ainda participam de uma vida social ativa, o que requer roupas adequadas para elas se sentirem bem. Contudo, por essa demanda, ainda não se conhece, de fato, as necessidades reais do vestuário para tais consumidoras. O objetivo desta pesquisa é definir recomendações de design para a criação e confecção de vestuário para a nova idosa. Para isso, foram utilizadas técnicas como a de grupos de foco com as novas idosas, e a de entrevistas semiestruturadas com estilistas, cujas marcas foram citadas por essas mulheres. Constatou-se que realmente os vestuários disponíveis no mercado nem sempre atendem a elas, principalmente no que se refere aos modelos oferecidos, que não favorecem o novo corpo, e à modelagem, que não é desenvolvida para as mulheres dessa faixa etária. / [en] This research deals with the ergonomic issues of elderly woman regarding the daily clothes. With the aging of the world population, combined with medical advances, new technologies and significant decrease in the birth rate in the world, a study about the relationship of the new elderly woman with her clothes becomes necessary, since their professional and social lives remain longer. The way elderly people are seen today is quite different from before, including their own perception of themselves, particularly when it comes to behavior issues. However, it is believed that the ready-to-wear clothing on the market does not consider the body transformations of the elderly woman. With the changes due to age, these women end up presenting a differentiated body of existing clothing standards in the market. In addition, the elderly woman of 60 to 75 years old still participate in an active social life that requires appropriate clothing for them feel well. However, this demand and the real needs of clothing for these consumers are not yet known. The objective of this research is to define design recommendations for designing and making clothing for the new elderly. For this, techniques such as focus groups, with the new elderly, and semi-structured interviews with designers, whose brands were cited from these women, were conducted. It was noted that the clothing available on the market do not always satisfy them, especially with regard to the models offered that do not favor the new body changes and the modeling pattern that is not developed for a women of this age group.

The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.