Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.

This dissertation is "A Collective Case Study of Veterans Inside an Arts and Crafts Room and Their Perceptions Regarding Empowerment." This research examined to what degree art making, and in what ways a community of learning contributed to veterans' self-worth and empowerment through their creative activities and interactions inside an arts and crafts room at the VA hospital in Dallas, Texas. Furthermore, an essential reason for this study is to examine veterans in the arts and crafts environment to explore whether their experiences were important, meaningful, and empowering, and especially important in this regard are the interactions among veterans. Empowerment in this context is defined as gaining self-esteem and motivation within oneself. This includes becoming more confident and positive, as well as gaining the ability to learn about one's own identity. It also described how the interactions between the participants are shaped by the social contexts within which they come together. Using post-modern feminist theory, narrative inquiry and care theory, this dissertation describes the ways that the processes and products of creative activity bring empowerment through dialogue and personal stories while using the component of caring during teaching and learning.

Textbooks teach architecture as conveniently divided into styles and periods, but in reality styles overlap. At the turn-of-the-twentieth century there were three major architectural and decorative movements in the United States: the Aesthetic Movement, the Arts and Crafts Movement, and the American Renaissance Movement. This thesis shows how superficial stylistic labels can be by comparing two very different-seeming houses of the early twentieth century: The Hapke-Geiger House of ca. 1912 in Chesterfield, Virginia, based on a Gustav Stickley Arts and Crafts design, and the Hunton House of 19 14 in Richmond, Virginia, designed in the American Renaissance style by Noland and Baskervill. These homes are very different from one another, but they have three major similarities: They each use an established plan with no essential connection to the building's supposed style, they mix styles, and they have similar kinds of porches. This thesis will pursue these issues to go beyond the superficial stylistic labels and examine how the three major movements of the time are interrelated.

Esta dissertação buscou recuperar o processo de concepção e implantação de uma exposição de longa duração, bem como analisar sua expografia, a fim de revelar as ideias mobilizadas pelas estratégias e recursos expográficos. Trata-se da exposição do Museu de Artes e Ofícios de Belo Horizonte, aberto ao público em 2006. Situado na antiga Estação Ferroviária Central da cidade, o museu expõe, em sua exposição de longa-duração, um amplo acervo relativo às práticas de produção pré-industrial no Brasil, composto de objetos e instrumentos de trabalho associados a diversos ofícios manuais. Essa exposição, inovadora no país devido ao tema que rege o Museu, utiliza-se de estratégias expográficas que remetem à experiência francesa dos ecomuseus. Percorrer o processo de constituição deste museu, revelando suas matrizes e referências museológicas, bem como a abordagem do acervo e as ideias mobilizadas por seu discurso expográfico especialmente no que tange à memória do trabalho e à representação dos trabalhadores são os objetivos desta dissertação. / This dissertation looked for to recover the process of conception and implantation of a long term exhibition, as well as to analyze it in order to reveal the ideas mobilized by the strategies and exploitative resources. It is the exhibition of the Museum of Arts and Crafts of Belo Horizonte, opened to the public in 2006. Located in the old Central Railway Station of the city, the museum exhibits, in its long-term exhibition, an ample collection related to the practices of production pre-industrial in Brazil, composed of objects and instruments of work associated with various manual crafts. This exhibition, innovative in the country due to the theme that governs the Museum, uses expographics strategies that refer to the French experience of ecomuseums. The objectives of this dissertation are to go through this museum\'s process of constitution, revealing its matrixes and museological references, as well as the approach to the collection and the ideas mobilized by its expographic speech, especially about the memory of work and workers\' representation.

This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family's lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre's theory which understands a user's space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family's lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen's decorative interior, as an ‘eclectic' mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement.

Title of the thesis: Art and architecture of the Ethnographic exhibition 1895 The topic of the presented diploma thesis is the reconstruction of artist and item list presented on the Ethnographic exhibition of 1895, which was held in the premises of Holešovice Fairground in Prague from May 15 to September 28, 1895. Despite being one of the most important exhibition events held in Bohemia in the 19th Century (Jubilee Exhibition of 1891 - Ethnographic Exhibition of 1895 - Architecture and Engineering Exhibition 1898), it has not yet been systematically covered - not even from the history of art perspective. Based on the original material (leaflets, catalogues, guide-books) the thesis attempts to re- introduce the original public image of the exhibition and the character of the exposed items. The chapters of the thesis deal with the exhibition banner, the architecture (The Old Prague and Sample Village exhibitions), paintings, sculptures, commercial art (exhibition souvenirs). The thesis also attempts to trace the items and sketch their fate after the exhibition was over.

La thèse prend comme objet d’étude des artisans colombiens entre 1880 et 1930 dans les villes de Medellín et Bogotá. Elle les considère comme des sujets fondamentaux dans les dynamiques qui se sont développées pendant cette période. Au-delà de la description du monde artisanal, la recherche s’intéresse à la manière dont ce secteur est devenu un agent qui a réagi aux phénomènes à l'échelle nationale et transnationale. Dans le premier sens, en Colombie, les liens sociaux et les formes de production que les artisans avaient enfanté depuis des siècles ont été actifs et exprimés de diverses manières, comme la révolte qui a éclatée à Bogotá en 1893 et les publications dans les journaux des artisans. L’Hégémonie conservatrice qui a conduit la Colombie à la fin du XIXe siècle avait pour un de ses objectifs l’enseignement technique, en particulier pour les artisans, afin de remplacer la fonction exercée par les corporations et de préparer la main-d’œuvre à l’industrie. Dans ce contexte, il y eu une prolifération d'établissements d'enseignement des connaissances de base et techniques avec une composante morale importante. Cette recherche s'intéresse à l'analyse des écoles d'art et métiers et rend compte des réactions du secteur artisanal à la professionnalisation de leurs métiers et aux changements requis par l'intention de mettre en œuvre l'industrialisation. Bien que le phénomène de l'enseignement technique aide à comprendre les caractéristiques de l'artisan colombien au cours de la période étudiée, cela ne peut être compris sans une observation plus large.Basée sur l'approche de l'histoire globale des connexions, la présente recherche permet de comprendre, du point de vue peu exploré par l'historiographie, comment l'expérience des artisans en Colombie aux portes de l'industrialisation a dépassé la réalité nationale. Les phénomènes transnationaux tels que l’insertion sur le marché, la professionnalisation et la spécialisation des métiers par le biais de l’enseignement technique et la circulation des connaissances et des personnes faisaient partie de la dynamique du monde artisanal.Dans ce contexte, les espaces d’internationalisation des connaissances, tels que les Congrès d’enseignement technique et les Expositions Universelles, ont permis la circulation de nouvelles techniques, de connaissances artisanales et la socialisation des méthodes d’enseignement. De même, ils ont encouragé la mobilité des personnes liées à ces questions, comme ce fut le cas pour les personnages colombiens, y compris certains artisans. Les voyages en Europe ont permis de connecter le monde artisanal aux nouvelles avancées, mais ils n'étaient pas le seul moyen par lequel les artisans étaient connectés aux techniques européennes. Les congrégations religieuses et les associations de laïcs étaient un autre mécanisme qui favorisait la circulation du savoir artisanal en Colombie. Les Lasalliens, les Salésiens et les Sœurs de la Présentation ont fondé des institutions pour se former aux connaissances techniques avec une forte composante morale.Enfin, entre les phénomènes nationaux et transnationaux, le monde artisanal colombien de la fin du XIXe et du début du XXe siècle a évolué entre différentes logiques. Une partie de lui a défendu ses formes de production dans les ateliers et une autre était ouverte aux nouvelles techniques et aux nouvelles méthodes de production. Ce mouvement, entre permanence et transformation, montre que ce secteur a été un élément clé dans la préparation du pays sur la voie de l’industrialisation, outre ses liens sociaux et ses formes de production moins faciles à dissoudre. / This dissertation studies artisans in Bogotá and Medellín between 1880 and 1930, and considers them crucial subjects in the ongoing dynamics of the period. Beyond describing the artisan’s world, this research concentrates on showing in what ways this sector reacted to national and trans-national phenomena. First, in Colombia, social links and forms of production long-formed by artisans were kept active and manifested themselves in several ways, including the Bogotá 1893 riot and periodical publications. Colombia’s late-nineteenth-century leading conservative hegemony set out to establish technical education, especially for artisans, hoping to replace what the guilds had done in the past and to prepare labor for industrial production purposes. Thus, basic and technical educational institutions proliferated, developing at the same time an important moral component. This work analyzes schools of arts and crafts, accounting for the artisans’ reactions to the professionalization of their crafts and the changes demanded by industrialization. Even though technical education itself sheds light on the characteristics of Colombian artisans during this period, they cannot be fully understood unless we take a broader view. Using a situated global history of connections as a methodological tool, this research allows us to understand, from a point of view seldom present in the historiography, how artisans’ experience in Colombia at the dawn of industrialization went beyond the national context. The artisans’ world was shot through with transnational phenomena such as incorporation in the markets, professionalization and specialization of crafts through technical education, and the circulation of knowledge and people. Thus, spaces for the internationalization of knowledge, such as technical education conferences and universal expositions, enabled the circulation of new techniques, artisanal knowledge, and the socialization of teaching methods. Those spaces equally promoted the mobility of people linked with these issues, including Colombian individuals, several artisans among them. Their trips to Europe allowed them to connect the artisans’ world with new developments, even if this was not the only way they enjoyed connections with European techniques. Religious congregations and lay associations also facilitated the circulation of artisanal knowledge in Colombia. Lasallians, Salesians, and the Sisters of the Presentation founded institutions to teach technical knowledge with a strong moral bent / La tesis de doctorado toma como objeto de estudio a los artesanos colombianos entre1880 y 1930 en las ciudades de Medellín y Bogotá, y los considera como sujetos fundamentalesen las dinámicas que se desarrollaron en este periodo. Más allá de describir el mundo artesanal,la investigación se interesa en mostrar cómo este sector se convirtió en un agente que reaccionóa fenómenos de escala nacional y transnacional. En Colombia, los vínculos sociales y las formasde producción que los artesanos habían gestado durante siglos se mantuvieron activos y semanifestaron de diferentes maneras, como lo fue el motín de Bogotá en 1893 y las publicacionesen periódicos de artesanos.La Hegemonía conservadora que lideró a Colombia a finales del siglo XIX tuvo comouno de sus objetivos la educación técnica, especialmente para artesanos, en vía de reemplazar lafunción que realizaron los gremios en épocas anteriores y de preparar una mano de obra para laindustria. En este contexto se dio la proliferación de instituciones educativas en conocimientosbásicos y técnicos con un importante componente moral. Esta investigación se interesa en analizarlas escuelas de artes y oficios y da cuenta de las reacciones del sector artesanal ante laprofesionalización de sus oficios y los cambios que les exigía la intención de implementar laindustrialización. Aunque por si mismo el fenómeno de la educación técnica ayuda a vislumbrarlas características del artesanado colombiano en la época estudiada, este no se puede entender sinobservarlo de una manera más amplia.Con base en la herramienta metodológica de la historia global situada de conexiones, lapresente investigación permite entender, desde un punto de vista poco explorado por lahistoriografía, cómo la experiencia de los artesanos en Colombia a las puertas de laindustrialización traspasó la realidad nacional. Fenómenos transnacionales como la inserción almercado, la profesionalización y especialización de los oficios por medio de la educación técnica,y la circulación de saberes y personas, hicieron parte de las dinámicas que atravesaron el mundoartesanal.En este contexto los espacios de internacionalización del conocimiento, como loscongresos de educación técnica y las Exposiciones universales, permitieron la circulación denuevas técnicas, de saberes artesanales y la socialización de métodos de enseñanza. Del mismomodo, incentivaron la movilidad de personas relacionadas con estos temas, como fue el caso depersonajes colombianos, entre ellos algunos artesanos. Los viajes a Europa permitieron conectarel mundo artesanal con los nuevos avances, sin embargo, no fueron el único medio por el cual losartesanos estuvieron conectados con técnicas europeas. Las congregaciones religiosas y lasasociaciones laicas fueron otro de los mecanismos que favoreció la circulación de saberesartesanales en Colombia. Los Lasallistas, Salesianos y las Hermanas de la Presentación fundaroninstituciones para formar en conocimientos técnicos con un fuerte componente moral.En suma, entre fenómenos nacionales y transnacionales, el mundo artesanal colombiano definales del siglo XIX y comienzos del siglo XX se movió entre lógicas diferentes. Una parte deél defendió sus formas de producción en los talleres y otra estuvo abierta a las nuevas técnicas ymaneras de producir. Este movimiento, entre permanencia y transformación, muestra que estesector fue una pieza clave en la preparación del país en el camino hacia la industrialización,además de que sus vínculos sociales y sus formas de producción no fueron tan fáciles de disolver

behold, be still illuminates my predilection, that of a portrait photographer, which is driven by a fascination with viewing and collecting the ‘other’, the male, now extending into this suite of still moving portraits. Through this act and in my art practice, I uncover the vulnerabilities, both for myself and for my subjects, as they are offered for scrutiny on screen to become ‘public’, unlike their previous position in my photographic archive, which is private. I reveal for the first time my pathology in the drive to collect surrogates and stand-ins, to console the loss and give solace for the absence of one- revealing a latent scopophilia. Photography histories, specifically portraiture, and the moving image are discussed, focusing on the binaries of the medium/s, their reflective and reflexive qualities, and their inherent ability to reveal and conceal. My visual inquiry is an expansion to experiencing the portrait by presenting the sitters as close to ‘themselves’ via the medium of high definition video portraits. I expel the implications of women looking at men, and review the work of both significant and historical feminine influences and contemporary women artists positioned and working in this territory and who employ both film and photography. I highlight Victorian women and the melancholic age, where photography is deeply embedded, tracing the origins and lineage to my current work. I seek to define and locate the notion of a beautiful masculine, investigating what it is to view, receive, and collect between the axis of photography and video via the intimate exchange and operatives of my gendered and privileged gaze. The success is determined by the tension between these two machines and resulting portraits, as the act in sitting for a portrait with the technology of today, renders a more ‘accurate’ portrayal. From this the moving portrait completes the desire and an opportunity to obtain and possess the beloved after their absence. Crucial issues become apparent as I examine the imprint of the real in the photograph, the camera as a surrogate for myself, and the passive yet consensual subject.

The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.

This study arises out of the researcher’s experience in the fields of costume and fashion. It develops, through design practice and reflection, a design process for fashion wear made from post-consumer recycled materials. Theoretical analysis provides global, historical, philosophical and design contexts within which to develop an ethos for this variant form of fashion wear designated ReFashion. Differences in design process between conventional fashion and ReFashion are detailed to highlight the significance of provenance of materials in the light of a perceived need to slow down clothing production and consumption. This perception is informed by scientific predictions that failure to engage with urgently needed changes to the prevalent economic paradigm will result in planet earth reaching a tipping point with potentially disastrous results for its inhabitants. Fundamental to the ReFashion ethos is preparedness for a speculative post-apocalyptic future that might render the fashion system unable to operate as it currently does, necessitating a more self-sufficient approach to clothing needs, with an accompanying shift in perceptions of what is deemed fashionable. The theme Survivalist Fantasy provides a lens to bring conceptual and material aspects of the work into focus. Informed by sustainability, Survivalist Fantasy recontextualises a failure of sustainable initiatives on a global scale and their adaptation on a local scale specifically in the arena of clothing.