曼谷二手衣創業企劃書 / Women enjoy buying clothes, they keep filling new items in their closet, in the mean time, there are items they do not want to wear due to various reasons, which leads to a huge number of garments waste, only a small amount of them create monetary value to the owner. Wouldn’t it be great, if girls can maximize or make more value out of their old clothes by selling them? Re-vivi will help girls turning their unused clothes into another source of their income, on the other hand, help the buyer save more money by offer them cheap second hand clothes. Re-vivi will receive clothes from seller, and distribute items through flea market, social media, instant message application and e-commerce online store. As an agent, the revenue will come from us taking some commission from clothes owner. According to the survey, Bangkokian ladies admitted that they want to sell their clothes, but time and effort are two main issues that stop them. Other reasons include they do not know where to sell and the efforts of selling might not worth the money they receive. At Re-vivi, we want to start a business applying a lean startup approach: first by build the model solving the problem, developing a minimum viable product to begin the process of learning as quickly as possible, we will then measure and re-build the model on those measure metric over and over again. Therefore, during the first six months, we will receive the garments from the seller and distribute them in the flea market and social media, we will see if the model works well before start to build an e-commerce website based on the experience. This paper may not be a huge successful business plan, but there will not be a huge capital loss, as we will use the minimal investment. We may also develop some other plans along the way, because the main goal is to monetize from the clothes waste from those who think that: “it would be great if I can sell those items I do not want anymore”. Keywords: Second hand clothes, Used clothes, Flea market, Shopaholic

Statistics show high figures of poverty amongst farm dwellers in South Africa. Poverty is also associated with illiteracy, low life expectancy and high figures of malnutrition. One third of farm workers have no formal education. Very few farm dwellers have access to adequate housing and sanitation. A shortage in food, shelter and clothing leads to constant stress. In spite of extreme poverty, most households possess at least some human- and material resources. Through the effective management of these resources, the quality of life of people can be improved. Poor adults can be guided to better management through education. This study was part of the FLAGH-project where an educational intervention programme was developed, implemented and evaluated. The general goal of this study was to improve the sewing skills of female farm dwellers, in order to use existing resources of time, clothing and other textile articles optimally. Through the optimal use of these resources, less money needs to be spent on items such as clothes. More money can then be available for other basic needs, such as food. The intervention model as described by Fawcett et al. was used for this study. An intervention programme was developed, implemented and evaluated. Women on two farms were taught basic sewing skills to repair and recycle old clothes and other textile goods. Data to determine the success of the programme was gathered by means of practical pre- and post-tests. Paired sample t-tests were used to determine the effect size of the results, in order to determine if there was a practical significant difference in the skills of the women before and after the programme. Independent t-tests were used to determine the average and standard deviation in the evaluations of the two evaluators. Participants completed questionnaires regarding the presenting and compilation of the programme, to determine the success of the programme and to identify problems for possible future implementation of the programme. Results showed an improvement in the sewing skills of participants. Results from the programme evaluation showed that participants experienced the programme positively. The most important advantage of this programme was that participants can continue to apply the skills acquired during the programme, without any extra financial costs. / Thesis (M. Consumer Science)--North-West University, Potchefstroom Campus, 2006.

Drawing upon my eleven-month ethnographic fieldwork in two business organisations in Bangkok, Thailand, this thesis explores Thai women office workers consumption of makeup and clothes at work. What emerges from this thesis is that a claim to beauty as a reason for which women are engaged in the consumption of makeup and clothes is not always valid. Grounded in theoretical discussions and empirical findings, I argue that the women s consumption of makeup and clothes is not always in the pursuit of beauty, but rather the pursuit of looking good. While beauty is perceived as an innate quality of the body, looking good entails the materialisation of the outer body through consumption practices in an attempt to achieve an ideal look. I introduce a concept of looking good practices. Looking good practices demonstrate the ways in which women office workers exert agency in mobilising their outer bodies to achieve an appropriate appearance at work. I argue that looking good practices entail a process of social learning. The women office workers learn to look good through the process by which they look at other women, participate in the practices shared amongst themselves, negotiate the meanings of appropriateness and reify such meanings through their consumption of makeup and clothes. By sharing meanings and practices, the women office workers inevitably participate in looking good practices, which, I argue, are social practices. My research also demonstrates how, through their engagement in the consumption of makeup and clothes, the women office workers aestheticise their bodies to be situated in the aesthetic workplace.

Worn items are a crucial part of non-verbal social interaction that simultaneously exhibits communal, cultural, and political structures and individual preferences. This thesis examines the role of fictional costume and colour in constructing identities within two fourteenth-century Arthurian verse narratives: Froissart’s Middle French Meliador and the anonymous Middle English Sir Gawain and the Green Knight. To emphasise the imaginative value of material cultures and discuss the potential reception of fictional objects, the argument draws on illuminations from nine manuscripts of prose Arthurian stories. Particularly stressing the role of colour in garments, the first chapter examines the issues of analysing literary costume, reviews the provenances of the texts and illuminations, and establishes the relevant historical background concerning fashion, symbolism, and materials of construction (such as fabric, dyes, and decorations). This is followed by two chapters on men’s items. First, the use of courtly clothes and colour-related epithets in manipulating perception and deceiving internal and external audiences is explored. Second, the symbolic value of arms and armour in tournament society is evaluated alongside the tensions between war and armed games that such tools reveal. Chapter four expands on the preceding chapters by discussing the application of heraldry as a malleable identifier. Chapter five considers how ladies’ garments, bodies, and character are coalesced and separated through adoption or rejection of literary techniques, thereby creating conflict between noblewomen as social commodities and as persons with narrative agency. The final chapter analyses the employment of wearable items as gifts and commodities and how such objects can alter interpersonal relationships. Colour and costume are a means by which narratives can explore, accept, or reject literary topoi. Their myriad functions allow the active manipulation of identity, relationships, and internal and external audiences. By focusing on the pluralities and ambiguities of meaning connected to colour and costume, this thesis explores how these materials mediate between conflicting connotations to create new meanings within the narratives.

This research touches the basics of a clothes-trading process. The process occurs as an outsideparty is being politically absorbed by a mainstream party which aim is to oust the smaller party from the electoral arena. The outside-party would ensure survival by dismiss its policy dimension, thus moving towards an opposite strategic direction away from the incoming mainstream party. The toolkit is taking from the PSO-theory by Bonnie M. Meguid (2008) in order to describe the clothes-trading process by each step as a party strategy. It is a defeat fire with fire type of conflict, with the end not yet discovered, but assumed to be a total exchange between the parties’ issue ownership. So far it is too early to predict the outcome. Further studies have to be made on the future elections in order to elaborate the clothes-trading process more in detail. But the research has set the basics of how and why such a process would occur.

O trabalho investiga os trajes de cena (figurinos) de performance, observando suas particularidades de criação e utilização por meio do estudo de caso sobre o coletivo transnacional La Pocha Nostra. A pesquisa foca em trajes de cena criados a partir de práxis desenvolvidas pelo coletivo nas décadas de 1990 e 2010, denominadas antropologia inversa e ternura radical, observando-as dentro da perspectiva de continuums - ou seja, não como polos excludentes, mas como polos geradores de espaço potencializador de inúmeras possibilidades expressivas - cujas extremidades seriam desconstrução do corpo étnico/histórico/regional e geração de corpos em devir -, no sentido de corpos que nunca se configuram como \"prontos\", estando em constante refazer-se. Colocou-se como hipótese o fato de que, conforme noções como identidade, gênero e nacionalidade foram sendo desconstruídas e ampliadas no decorrer dos processos de mundialização (ORTIZ, 1994) ou hibridação de culturas (CANCLINI, 2013), as criações de trajes de cena do La Pocha Nostra passaram a buscar maneiras de gerar corpos em devir, fazendo maior uso de elementos de body art e body modification. Além disso, a pesquisa também propôs uma reflexão sobre a performance-pedagogia desenvolvida pelo coletivo. Desta forma, o trabalho apresenta experiências e reflexões sobre a utilização da metodologia criada pela Pocha Nostra tanto como ferramenta para criação de trajes de cena teatrais, quanto como instrumento potencializador da formação ou aprimoramento de docentes e arte-educadoras/es que buscam fazer da sala de aula espaços horizontais para a troca de conhecimento e de questionamento das normativas. Entre outros, f oram empregados os seguintes referenciais teóricos: Alejandro Jodorowski, bell hooks, Danièle Dehouve, Fausto Viana, Filomena Gregori, Guillermo Gómez-Peña, Henrietta Lidchi, Henrietta Moore, Ivonne Solano Chávez, Laurentz Seda, Miceas Eliade, Nízia Villaça, Peter Pál Pelbart, Renato Ortiz, Richard Shechner, Roberto Sifuentes, Stuart Hall e Valerie Steele. / This paper investigates the stage clothes (costumes) worn for theatrical performance, considering the peculiarities of their creation and use through a case study about the transnational collective La Pocha Nostra. The research focuses on stage clothes stemmed from praxes developed by the collective in the 1990s and 2010s, which are called reverse anthropology and radical tenderness, and observes them through the perspective of continuums--not as excluding poles, but rather as poles which generate a space that potentializes countless expressive possibilities--whose extremities are the deconstruction of the ethnical/historical/regional body and the construction of bodies in becoming, in the sense of bodies that are never configured as \"ready\", bodies that are in a constant process of remaking themselves. It was hypothesized that, as notions such as identity, gender and nationality, they were deconstructed and expanded during the processes of globalization (ORTIZ, 1994) or hybridization of cultures (CANCLINI, 2013), creations of scene costumes of La Pocha Nostra began to look for ways to generate bodies in becoming, making greater use of elements of body art and body modification. Moreover, this research also proposes reflections on the performance-pedagogy carried out by aforementioned collective, thus presenting experiences and considerations regarding the use of the methodology created by La Pocha Nostra both as a tool for the creation of theatrical stage clothes and as an instrument that enhances the formation or improvement of teachers and art educators who seek to turn their classrooms into horizontal spaces for the exchange of knowledge and the questioning of norms. The following theoretical references were used: Alejandro Jodorowski, bell hooks, Danièle Dehouve, Fausto Viana, Filomena Gregori, Guillermo Gómez-Peña, Henrietta Lidchi, Henrietta Moore, Ivonne Solano Chávez, Laurentz Seda, Miceas Eliade, Nízia Villaça, Peter Pál Pelbart, Renato Ortiz, Richard Shechner, Roberto Sifuentes, Stuart Hall and Valerie Steele.

Les Textes des Pyramides empruntent au répertoire de la vie quotidienne des Anciens Egyptiens bon nombre de vocables, faisant de ces objets a priori profanes des attributs divins ou encore des éléments d’un viatique funéraire accompagnant le défunt lors de son « ascension ». Le cas des artefacts textiles (vêtements et habits) est particulièrement riche.En reprenant l’identification de chaque item, d’un point de vue tant iconographique que lexicographique, et en tenant compte du contexte d’utilisation, il est possible de comprendre ce qui motiva sa présence : traditions institutionnelles héritées des premières dynasties, significations théologiques ou simples préoccupations fonctionnelles. / The Pyramid Texts borrow from the daily life of Ancient Egyptian a lot of words,making those objects a priori profane to divine attributes or components of funeraryequipment accompanying the deceased during his ascension. The case of textile artifacts(clothes and garments) is particularly affluent.By resuming the identification of each item, on a point of view so iconographical aslexicographical, and to take account of used context, it is able to understand what wasthe motivation of its : institutional lore inherited from first dynasty, theological senses orprivate functional preoccupations.

Clothes and toys are a big part of our children's lives. Clothing reflects how individuals are seen and after that it is easier to categorize individuals by gender or economic status. There are not so many toys that are gender neutral. Often cars are considered a masculine toy while the barge doll is seen as girlish and feminine. The primary school curriculum points to the importance of teaching and permeating through a gender perspective. This is because students perceive what is feminine and masculine through the teaching and treatment of the school (Skolverket,2011:8). This study will examine six selected picture books, picture books that are published to convey a norm breaking pattern with a focus on clothes and toys. It is therefore of great importance that teachers have the knowledge about which material can be a help for the teacher when the teacher in teaching conducts student-close discussions on gender. The teacher also needs to have the knowledge and ability to carry out teaching on all subjects from a gender perspective. The purpose of this study is to investigate whether the picture books on which the essay is based can help a teacher in his or her active professional role in finding, in a student-close way, inputs to book conversations, discussions and didactic links to gender science. This must be done through the analytical part of the picture books, where the focus is on the production of clothes and toys from a gender perspective. The study will be graded on a content analysis, a qualitative study in which the result of the analysis of the picture books is weighted together with previous research on the subject.When the study is completed, there is a clear pattern that should be highlighted. This pattern shows differences between girls and boys' clothes. Girls wear clothes in bright colors while boys almost always wear clothes in cooler and darker colors. Another result that clearly appeared in the analysis is that the clothes that the children use are linked to different activities. These activities are in turn linked to gender and this affects the combination of clothes in boys and girlsway to dress. / Kläder och leksaker är en stor del av våra barns liv.Kläder speglar hurenindividsesi andras ögonoch efter det är det lättare att kategorisera in individenefter kön eller ekonomisk status. Det samma gäller leksaker, det finns inte så många leksaker som är genusneutrala. Ofta anser både män och kvinnor attbilar är en maskulin leksak medan barbiedockan ses somenflickig och femininleksak.Grundskolans läroplan markerar tydligt betydelsenavatt undervisning sker och genomsyras av ett genusperspektiv. Dettaär viktigtpå grund av att elever uppfattar vad som är kvinnligt ochmanligt genom undervisningens utformningoch hur eleverna blir bemöttai skolan (Skolverket,2011:8).Denna studie kommer granska sex utvalda bilderböcker, bilderböcker som är utgivna för att förmedla ett normbrytande mönster med inriktning på kläder ochleksaker. För att undervisningen ska genomsyras av ett genusperspektiv är det viktigtatt pedagogenhar kunskaperom vilket material som kan vara en hjälp förpedagogen när heni undervisninggenomförelevnära diskussionerom genus.Syftet med denna undersökning är att ta reda påom bilderböckerna somuppsatsenbygger på kan hjälpa pedagogeni dennes aktiva yrkesroll.Syftet med att använda litteratur är för att på ett elevnära sätt hitta ingångartill boksamtal, diskussioneroch didaktiska kopplingar till genusvetenskap. Studienska göras genom den analytiska delen av bilderböckerna där fokusligger på framställningenav kläder och leksaker ur ett genusperspektiv.Undersökningen kommer lutas på en innehållsanalys, en kvalitativstudie därresultatetav bilderboksanalysenvägs samman med tidigare forskning i ämnet. När studien färdigställts finns ett tydligt mönster som bör lyftas fram. Detta mönster visar skillnader mellan flickor och pojkars kläder. Flickor bär kläder i ljusa färger medan pojkar nästan alltid har kläder i kallare och mörkare färger. Ett annat resultat som tydligt framkom i analysen är att klädernasombarnen använder är knutna till olika aktiviteter. Dessa aktiviteter är i sin tur knutna till kön och detta påverkar kombinationen av kläder hos pojkar och flickor.

Cette thèse propose de s’appuyer sur le concept d’enveloppe pour aborder la création contemporaine, notamment dans les domaines de la sculpture et des arts textiles, depuis les années 1960. Ce mot sert de fil conducteur à une pratique plastique en même temps qu’à une réflexion théorique, l’une et l’autre dialoguant et se développant de concert. Ainsi, tout au long du texte viennent s’intercaler les images d’un travail personnel qui cherche à entrer en résonance avec les œuvres des nombreux artistes que nous analysons.Dans un premier temps, nous cherchons à définir les caractéristiques d’une enveloppe et à trouver comment elles se manifestent. Pour ce faire, nous essayons de créer une typologie des différentes formes d’enveloppe dans l’art contemporain. Trois entrées principales sont proposées : l’emballage, le vêtement et la peau. Ensuite, délaissant le substantif, nous nous attachons à l’adjectif, enveloppant et au verbe, envelopper, qui nous permettent d’envisager l’enveloppe non plus de manière figée, mais comme une matière souple, évolutive, ou bien comme un mouvement d’enroulement répété qui anime la pratique de certains artistes. Le concept d’enveloppe devient quelque chose d’ouvert, un point d’appui pour penser les processus créatifs. L’idée d’une œuvre-enveloppe est alors le moyen de ne plus considérer l’œuvre plastique uniquement sous la forme d’un objet fini, isolé. Elle offre, au contraire, la possibilité de la percevoir comme une paroi vibrante qui serait une interface entre l’artiste, sa perception singulière du monde, et une matière, de même, qu’entre cette matière transformée et un spectateur, n’existant que par et pour leur rencontre. / This thesis will approach contemporary creation – with a focus on sculpture and fiber arts from the ‘60s onwards – through the French concept of the enveloppe. This concept is the red thread that binds together the material aspect of an artistic practice together with the rhetorical thinking behind it. Thus, this text is intertwined with images from the author’s personal practice, echoing the numerous other artist’s works that we be analysed as this reflexion develops.In a first part, we will aim at defining the characteristics of an enveloppe together with the mechanisms of its manifestation. For that purpose, we intend to create a typology of the various forms an enveloppe takes in contemporary arts. We will suggest three main to categorise these types: the packaging, the cloth and the skin. Then, leaving behind the substantive, we will attach ourselves to the adjective ‘enveloping’ and the verb ‘to envelop’, allowing us to approach the envelope not only as a still object, but also as a versatile, evolving material, or as a movement of repeated enrolment as used in some artists’ practice. The concept of enveloppe therefore opens up to become a starting point for the creative process. Consequently, the idea of an ‘enveloppe-artwork’ not only allows us to consider the physical artwork as a finished and isolated object, but also offers the possibility to perceive it as a vibrant wall, an interface between the artist – his/her singular perception of the world – and a material, a substance; between the transformed material and the viewer, existing only from and through their encounter.

The textile business is one of the oldest industries of our time, and it employs nearly 1.4 million workers within the European Union alone. It is not unusual that this is the foundation of a country’s industrialisation. Even though the industry brings many positive factors, there are also negative factors that will influence the industry’s growth in the future. One of the textile industry’s largest negative factor is the effect it has on the environment.The current recession that is effecting our society is spreading all over the world. It is for the future to decide what kind of fashion companies that will survive. According to analysts, it is the companies with a nisch that are mostly expected to survive, for example, Case Company X which is working with design, production and sales of ecological fashion clothes. It is therefore important and relevant for Case Company X to make not only short but also long-term strategies to keep up with the fashion industry’s competition and dynamic development.The purpose of this study is to identify the main target group for Case Company X and to present possible sales channels and strategies for the company.We have used the hermeneutical perspective since the different research areas can be seen as a whole. Our method of working has been abduction, since we have chosen to alternate between empirical data and theory. The study combines both qualitative and quantitative methods. The qualitative method has been used to make deeper research within Case Company X, and the quantitative method has been used in the work with the questionnaire to try and find the company’s main target group. According to which part of the study that has been researched, the choice of data has varied. To make the study more reliable, we have chosen to use both primary and secondary data.We have been able to identify the main target group and we have also been able to suggest suitable future sales channels and strategies for the company. The main target group for Case Company X are working women aged between 20-45, with a middle to high income, and who buy clothes on average once a month.Taken together, our results indicate that the following two factors are important in the choice of sales channels for Case Company X, (i) how the company and its brand can be introduced to the high street i.e. sold in shops like Mouche, NK Designers, NK Mode, Grace, Solo, and Venti Nove (ii), how the staff can effectively explain the positive effects of ecological clothes. We believe that Drömma, Åhléns, Hildur as well as Case Company X own website are retailers of interest.IIWe recommend that Case Company X should only work with one segment and try to satisfy one specific target group. Therefore, we suggest that Case Company X initially should establish itself as a nisch company on the Swedish market. / Program: Textilekonomutbildningen