by Lam Bik-yan Ruby, Lau Chuk Man Jacqueline. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaf 76). / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iii / ACKNOWLEDGMENTS --- p.v / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- LITERATURE REVIEW --- p.3 / Market Segmentation and Product Positioning Strategies --- p.3 / Customer's Purchasing Behavior --- p.5 / The Needs and Wants of Clothing and Accessories --- p.6 / Theories of Fashion Adoption --- p.6 / Factors Affecting the Needs and Wants of Fashion Merchandises --- p.8 / Effects of Fashion on the Shopping Habits --- p.10 / The Hair Accessories Business --- p.10 / Chapter III. --- MARKET SURVEY --- p.12 / Objective --- p.12 / Methodology --- p.12 / Limitations --- p.13 / The Questionnaire --- p.13 / Sample Size --- p.14 / Processing of Survey Data --- p.14 / Survey Findings and Interpretation --- p.14 / Chapter IV. --- FOCUS GROUP STUDIES --- p.17 / Purpose and Objectives --- p.17 / Compositions --- p.17 / Issues Discussed --- p.20 / Findings --- p.21 / Implications --- p.24 / Chapter V. --- "INTERVIEW WITH HAIR ACCESSORIES ENTREPRENEUR IN HONG KONG, CHERRY CHAU" --- p.26 / History of the Cherry Chau Creations --- p.26 / The Cherry Chau Concept --- p.27 / Conclusion --- p.30 / Further Advice --- p.30 / Chapter VI. --- THE BUSINESS PLAN --- p.33 / Executive Summary --- p.33 / The Enterprise --- p.36 / Market Analysis --- p.37 / Products and Services --- p.41 / Marketing Strategies --- p.45 / Operations --- p.49 / Management and Organization --- p.52 / Risk Reduction Strategies --- p.55 / Exit Strategies --- p.56 / Financial Data --- p.56 / Capitalization and Structure --- p.63 / APPENDIX --- p.64 / BIBLIOGRAPHY --- p.79

En dehors de la loi lato sensu, la volonté des parties n'est pas la seule source normative qui pèse sur le contrat de travail. Le juge, habilité par l'article 1135 du Code civil y accessoirise des obligations qu'il créé a pari de règles existantes. Le processus ne relève ni de l'interprétation, ni du mécanisme présomptif mais d'un cheminement complétif qui aboutit à combler les lacunes du contrat ou de la loi. L'origine est à rechercher dans la nature du contrat travailliste, articulée entre un donné économique et un construit juridique. Le mécanisme complétif remontant au-delà du Code civil se projette aussi vers un droit en devenir lorsqu'il interpelle la raison, norme irrigant la Common Law, et qui profile une jurisprudence du raisonnable dans une matière où la bonne foi régnait en maître. Assis sur une exigence forte de proportionnalité entre les droits de l'employeur et les obligations du salarié, il nait par analogie en éparpillant dans la relation de travail des obligations circonstancielles dans l'intérêt d'une meilleure justice contractuelle. / Outside the broadest meaning of law, the desires of the parties are not the only normative source that has an effect on work contracts. Judges authorized by Article 1135 of the Civil Code, adorn it with obligations they create in comparison with similar existing rules. The process is derived from neither interpretations nor presumptive mechanism, but from a completive progression that ends up filling in whatever is missing from the contract or from the law. Relying on a strong requirement of proportionality between the rights of the employer and the obligations of the employee, by analogy, it is born by being dissipated in the working relationship of circumstantial obligations in the interest of better contractual justice.

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The primary objective of this creative project was the exploration of Japanese sagemono ensembles and the metal working techniques needed for their creation. Sagemono ensembles are hanging accessories worn by the Japanese men of the 16th through the early 20th centuries. The secondary objective was to design and construct four sagemono ensembles using both traditional Japanese themes and patterns along with more contemporary motifs which emerged from the artist's explorations of the original Japanese ensembles. This body of work required a variety of traditional metalsmithing techniques including: complex sheet constructions, photoetching, copper-plating and forming, inlay, and casting. / Department of Art

Visais laikais žmonės savo kūnui skyrė ypatingą dėmesį, noras gražiai atrodyti vertė kentėti skausmą ir nepatogumą. Kad kūnas įgautų trokštamą siluetą, dažnai buvo naudojama pagalbinė priemonė - korsetas. Korsetas ilgus metus buvo privaloma kostiumo dalis, tik keitėsi forma, medžiagos iš kurių jis buvo gaminamas, bei dėvėjimo būdas. 1900m. korsetas išgyveno didžiausio populiarumo metą, tačiau ir šiomis dienomis aukštoji mada neišsiverčia be šios aprangos detalės. Istoriniai šaltiniai liudija, kad korsetu kūnas buvo dažniau žalojamas, nei dailinamas. Kūrybinio darbo tikslas sukurti ir įgyvendinti aksesuarų komplektą, kuris perteiktų kūno suvaržymo korsetu idėją, panaudojant netradicinį korseto vaizdą, norint pademonstruoti absurdišką savęs kankinimą dėl mados. Kūrybinio darbo pavadinimas „Deformacijos“, todėl, siekiant perteikti įvardintą temą, ypatingas dėmesys skiriamas paties kūrinio formai ir jo funkcijai, deformuoti natūralų žmogaus kūną. / At all times people gives special attention for theirs bodys, wish to be beautiful makes life uncomfortable and full of pain. To have desire siluet, often was used auxiliary tool – corset. Long time corset was mandatory costume element, only form, background material and wearing way was changed. In 1990 corset was on top of the popularity, even today haute couture fashion can not visualize models without corset. Historic resources testify, that corset ofter damaging body, than retouched. Aim of the creativ work is develop and implement accessory kit, which shows the idea of restraining the body with the unusual corset representation and also it shows absurd body torture for fashion. Title of the creative work is “Deformations”, for this reason special attention is given for item form and function, to deform natural human body.

Diplominiame darbe „Deja vu Afrika“ nagrinėjama, Afrikos tradicinė taikomojo meno estetinė sankloda ir jos semantika. Ieškoma sąsajų tarp Afrikietiškos ir Baltiškosios kultūrų. Juodasis žemynas turtingas ne tik gamta, bet ir įstabiu etniniu paveldu. Afrikos archajiškos kultūrinės tradicijos yra gyvos ir šiandieną tenykščių žmonių papročiuose, buityje, religinėse apeigose. Tai platus tyrimų ir interpretacijų laukas, leidžiantis pasireikšti neribotai fantazijai. Tyrinėjant afrikietiškos kultūros simbolius, kartu praplečiama mūsų baltiškųjų simbolių samprata. Šia studija siekiama parodyti, kad netikėtas atpažįstamumo jausmas, kylantis kūrėjui, gali būti inspiruotas ir kituose kraštuose realiai egzistuojančių simbolių. Šešių modelių kolekcija „Deja vu Afrika“ – tai žvilgsnis kitu kampu į Afrikietiškas tradicines rankines, kuriomis interpretuojant siekiama suteikti sukurtai rankinių kolekcijai savito išskirtinumo. Kūrybinė idėja inspiruota tradicinės Afrikos moterų audeklinės skaros khanga. Tai skara-aksesuaras, kuri labai plačiai naudojama čiabuvių. Joje šio žemyno moterys nešioja savo vaikus, daiktus, jomis puošiasi pačios. Kolekcijoje tradicinė skara virsta konceptualiomis odinėmis rankinėmis, krepšiais, kišenėmis. Aksesuaruose naudojamos tradicinės ir savitos odos pynimo, dažymo technologijos, organiškas spalvų bei formų žaismas. / The final thesis ”De javu Africa” analyses aesthetical background and semantics of traditional applied art of Africa. The interfaces between African and Baltic cultures are being searched. The black continent is rich not only in its nature but in its magnificent aesthetic heritage, too. African archaic cultural traditions are alive in the customs of indigenous people, their everyday life and religious rituals. It is a wide field for research and interpretations, which allows manifestation of unlimited imagination. Exploration of African cultural symbols expands the conception of our Baltic symbols. This study aims to show that a sudden feeling of recognizability that comes over creator may be inspired by the symbols actually existing in other countries. The collection of six models “De javu Africa” is a glimpse from a different angle in African traditional handbags, the interpretation of which is intended to provide specific uniqueness to the designed collection of handbags. The creative idea has been inspired by traditional African women fabric shawl called khanga. This is the shawl – accessory which is widely used by African women. They carry their children and things by them as well as smarten themselves by wearing them. In the collection traditional shawl becomes conceptual leather handbags, bags and pockets. In accessories traditional and peculiar technologies of leather weaving and dyeing are used, as well as organic play of colours and forms is applied.

Bakalauro darbą sudaro: teorinis aprašas, 2 moteriški aksesuarų komplektai, 2 plačiaformatės spaudos planšetai. Ne tik Lietuvos, bet ir viso pasaulio rinkose vis dar trūksta universalių aprangos aksesuarų su lengvomis transformacijomis, kurių dėka veiklios moterys sutaupytų laiko norėdamos pritaikyti juos pagal dienos poreikius. Taip pat gausu iš trečiųjų šalių atveţtų prekių, kurios yra ne tik kad nevykusios profesionalių dizainerių kūrinių interpretacijos, bet ir prastos kokybės. Išanalizavus, kaip Europos ir JAV dizaineriai jungia tarpusavyje aprangos ir aksesuarų stilius, buvo sukurti du aksesuarų komplektai. Pirmąjį sudaro krepšys- rankinė, dirţas- mini sijonas ir kepuraitė- kaklo papuošalas, antrąjį- krepšys- rankinė, dirţas- apykaklė, kepurė- beretė. Tai savarankiški aksesuarų komplektai, kurių pagalba galima sukurti skirtingus įvaizdţius. Jų išvaizda ir funkcija keičiama uţtrauktukų pagalba, kurie paslepia ar atidengia papildomus plotus, taip suteikdami gaminiams naują išvaizdą ar funkciją. Buvo pasirinkta turkio ir marmuruotos 3-ų spalvų derinio odos kombinacija. Transformuojamų gaminių suprojektavimas ir gamyba pareikalauja daugiau laiko, medţiagos bei furnitūros sąnaudų, nei standartiniai gaminiai. Vis dėlto, galimybė pirkėjui turėti daugiafunkcinį gaminį vietoje įprasto – visada viliojanti, taigi paklausa turėtų būti nepaisant to, kad kaina šiek tiek aukštesnė. Tokio pobūdţio aksesuarai sudarytų pagrindinį asortimentą įkurtoje internetinėje parduotuvėje „Skina... [toliau žr. visą tekstą] / This bachelor‘s work is consisting of: theoretical discription, 2 sets of women accessories, 2 tablets. Not only lithuanian, but all the world market has a lack of universal clothes accessories, which could help to buisy women to save time and adopt their look according to day needs. Also is a plenty goods from third countries, which are unsuccessfull interpretations of professional designers and have bad quality. Analising, how deigners of Europe and USA connects mutual styles, to be proper for buisy man for various life cases, were created two sets of accesories. First composition is made of bag-purse, belt-mini skirt and cap necklace, another one - bag-purse, belt-collar and cap-barret. It‘s independant accessories complects, which helps to create different styles. Those complects view and function can be changed by using zippers. It can hide or show additional areas of leather and that way it creates new look or function. It was decided to use turqoise and variet leather (which was coloried with 3 different colours) combination. After analysis of our days designers creation, conclusion is that universal accessories idea is not new, but still not enough explotated too. This type of accessories is more complicated than the regular one, so to create it need more time and to make it- more leather and other measures. On the other side, customer has a possibility to have multifunctionl product, and that always is a good reason to buy. Besause of it, little bit bigger price... [to full text]

This thesis examines the development, production and function of dress pins in Anglo- Saxon England. It proposes a dated typology for the mid-5th to the mid-llth century and notes the implications of this for discussions of contact and cultural interaction between England and other parts of Europe. Chapter 1 defines the parameters of the study, and describes the data that was assembled on Anglo-Saxon pins. An evaluation of the previous work on pins from Northern Europe (Chapter 2) is followed by an investigation in Chapter 3 of the methods and process of typological analysis. After arguing that one of the most important (and neglected) aspects of typological research is 'the process of study1 the chapter provides terminological definitions for the components of pins. Chapter 4 examines the problems, principal methods and developments in pin production and discusses how changes in method reflected changes both in fashion and metalworking techniques. Building on this, Chapter 5 defines the groups of pins that have been found on sites of the Anglo-Saxon period, including: (1) definition of the types and sub-types; (2) determination of their date ranges; (3) description of their distribution; and (4) suggestions about the origin of each type. In Chapter 6 the types are put into chronological order, to demonstrate which types existed simultaneously and how pins developed over time. The function of pins is considered in Chapter 7 and several tentative hypotheses are put forward. The final chapter draws a number of conclusions from the study including: (1) Anglo-Saxon pins display a great deal of insularity during all periods, but particularly in the 8th and 9th centuries; (2) while regionalism may have been a feature of 6th century pins, it ceases to be important by the 8th century when many finds from middle Saxon trading sites seem consistently to be the same types, suggesting that in addition to trade between England and the Continent and Scandinavia it is time to evaluate the micro-economic and information exchange networks in Anglo- Saxon England; (3) lastly it notes the problem of dissemination of artefactual analyses and the difficulties to be encountered in using typologies and it puts forward a preliminary proposal for the use of expert systems (computer programs that simulate human performance in specialist task areas) as a tool to distribute this information. An example of a knowledge base that might be used to disseminate the typology presented here, The Anglo-Saxon Pin Identification Assistant, is to be found in Appendix 2, as are several sample identification sessions.

This dissertation investigates the cultural meaning ascribed to feminine fashionable objects such as gloves, fans, parasols and vanity sets. I pay particular attention to issues of middle-class formation, the performance of gender, and the materiality of race, empire and colonialism. While these issues lie at the heart of British historiography, this project is written from a unique perspective which privileges cultural artifacts through material culture analysis. While the emergence of the middle class is typically studied as a masculine/public phenomenon, this project corrects the overemphasis on male activity by showing that middle-class women created a distinctive ‘look’ for their class via the consumption of specific goods and through participation in daily beauty rituals. Adding to these ideas, I argue that Victorian women performed a distinct type of femininity represented as passivity, asexuality, innocence, and leisure. By studying the repetitive gestures, poses and consumption practices of middle-class women, I show that certain corporeal acts helped to create Victorian femininity. This work also suggests that women participated in the British colonial project by consuming objects that were represented in the Victorian imagination as imperial spoils. As such, I argue that imperialism penetrated the everyday lives of Britons through several everyday objects. Empire building also created anxieties surrounding questions of race. Women’s accessories, such as gloves and parasols, helped British women to maintain their whiteness, an important way of distinguishing the ‘civilized’ Britons from the ‘uncivilized’ tanned colonial peoples. Overall this project showed that within the everyday objects consumed by women we can identify the anxieties, hopes and dreams of Victorians.

This dissertation investigates the cultural meaning ascribed to feminine fashionable objects such as gloves, fans, parasols and vanity sets. I pay particular attention to issues of middle-class formation, the performance of gender, and the materiality of race, empire and colonialism. While these issues lie at the heart of British historiography, this project is written from a unique perspective which privileges cultural artifacts through material culture analysis. While the emergence of the middle class is typically studied as a masculine/public phenomenon, this project corrects the overemphasis on male activity by showing that middle-class women created a distinctive ‘look’ for their class via the consumption of specific goods and through participation in daily beauty rituals. Adding to these ideas, I argue that Victorian women performed a distinct type of femininity represented as passivity, asexuality, innocence, and leisure. By studying the repetitive gestures, poses and consumption practices of middle-class women, I show that certain corporeal acts helped to create Victorian femininity. This work also suggests that women participated in the British colonial project by consuming objects that were represented in the Victorian imagination as imperial spoils. As such, I argue that imperialism penetrated the everyday lives of Britons through several everyday objects. Empire building also created anxieties surrounding questions of race. Women’s accessories, such as gloves and parasols, helped British women to maintain their whiteness, an important way of distinguishing the ‘civilized’ Britons from the ‘uncivilized’ tanned colonial peoples. Overall this project showed that within the everyday objects consumed by women we can identify the anxieties, hopes and dreams of Victorians.