The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

This project draws on aspects of research into the plight of women prostitutes working in Lal Batti areas of India. The project considers historical, contemporary and personal texts that form the basis of a creative synthesis. This synthesis is manifest in the design of five fabric-based artworks that seek to interpret issues of manipulation, entrapment, belonging, spirituality and demise. The project is located beyond the boundaries of fashion design. However, it involves an artistic fusion of garment construction, fabric and surface treatment. In doing this, the thesis seeks to give ‘voice’ to a political commentary that reaches beyond commercial uses of garments for display and protection.

This project draws on aspects of research into the plight of women prostitutes working in Lal Batti areas of India. The project considers historical, contemporary and personal texts that form the basis of a creative synthesis. This synthesis is manifest in the design of five fabric-based artworks that seek to interpret issues of manipulation, entrapment, belonging, spirituality and demise. The project is located beyond the boundaries of fashion design. However, it involves an artistic fusion of garment construction, fabric and surface treatment. In doing this, the thesis seeks to give ‘voice’ to a political commentary that reaches beyond commercial uses of garments for display and protection.

The purpose of this paper is to evaluate a clothing construction waiver test at Utah State University so it can become a better predictor of student past experience and future performance. The original test and a revised test, written by the investigator, were used as the instrument. The subjects included two groups of students --those who had taken the Basic Clothing Construction Course at Utah State University and those who had not taken the course. The results indicate that there is a difference between the knowledge of the students who have and have not taken the course. lt was also indicated that those students who waived the course had knowledge similar to those students who had taken the course and which those students who had not taken the course lacked. It was found that there was a positive correlation between number of years of junior high and high school clothing construction experience and test scores. The correlation between 4-H club clothing experience and test scores was not found to be significant. An item-analysis of the test revealed that many items were poor discriminators. The test was found to be quite reliable. Further evaluation and revision of the test is needed.

Historically, the construction, alteration, and mending of clothing was provided through household production activities, free of charge by the female members of the household or members of the extended family. These practices have changed in some families because of societal and cultural changes such as the increasing number of women who are employed outside of the household. Apparel construction, alteration, and mending are now available for purchase from service providers in the marketplace. Thus the overall purpose of this research was to examine the nature and foundation of the nonnative influences and attitudes of a sample of employed women toward purchasing apparel sewing services. Ajzen and Fishbein's (1980) reasoned action model which theorizes four stable relationships provided the theoretical framework for the research. The four relationships were Behavior-Intention (BI}, Attitude-Subjective Norm-Intention (ASNI), Behavioral Beliefs-Attitude (BBA), and Normative Beliefs-Subjective Norm (NBSN). Four corresponding objectives were investigated for three sewing services, clothing construction, alteration, and mending. A fifth objective for each apparel sewing service was used to explore the possible associations among a set of external variables and the employed women's estimated attitudes, estimated subjective norms, and the relative weights of the attitudinal and normative components in the ASNI relationship. Questions to measure behaviors, intentions to purchase, attitudes, behavioral beliefs, subjective norms, and normative beliefs were developed according to Ajzen and Fishbein's (1980) guidelines. Additional questions were developed to assess fourteen external variables derived from the review of literature. Two thousand ninety two questionnaires were sent through Virginia Tech's campus mail; 657 (97%) of the 679 (32%) returned were useable for the study. Kendall's Tau testing resulted in significant positive BBA relationships for all three sewing services. Multiple regression testing resulted in significant positive ASNI relationships for all sewing services. Significant positive BBA and NBSN relationships resulted from Pearson Product Moment Correlations for all three sewing services. All four null hypotheses for all three sewing services were rejected and the research hypotheses were supported. The fifth objective was investigated through three null hypothesis for each sewing service; each null hypothesis was tested with each external variable. The external variable, knowing someone who sews for pay, yielded statistically significant results for all three sewing services in the F-tests for the overall regressions, analysis of variance, and in the Tukey' s post hoc test; however this variable did not lead to significant differences in the standardized betas for services of altering and mending clothes, according to the Chow tests. No other external variables had as many significant tests for all three sewing services as knowing someone who sews for pay had, even though there were other significant tests in some of the relationships tested. Ajzen, I., & Fishbein, M. (1980). Understanding attitudes and predicting social behavior. Englewood Cliffs, NJ: Prentice Hall. / Ph. D.

Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?

Made available in DSpace on 2014-07-29T16:27:47Z (GMT). No. of bitstreams: 1 Maristela Abadia Fernandes Novaes.pdf: 1239708 bytes, checksum: f5acc60fb2c956df61fdf777aa95ec56 (MD5) Previous issue date: 2011-03-28 / In this research, I analyze a process of a teaching/learning activity in modeling on stones developed with Fashion Design students of the School of Visual Arts of The Federal University of Goiás as part of the signature Plane and Tridimensional Modeling I. This activity is intended to offer the students an opportunity to experiment and reflect on the modeling process and its relationship with support (body/stone), material and methods in the construction of clothes. The research presents a historical overview of methods for plane and Tridimensional modeling, describes the construction of pedagogical clothing objects - modeling of fabric in stones and reflects on the perceptions and meanings of this experience for future designers. The methodology used is action research, a perspective that guided the understanding and interpretation of these perceptions examining its impact and contribution to the training of designers. / Nessa pesquisa, analiso o processo de desenvolvimento de uma atividade de ensinoaprendizagem de modelagem de tecido em pedras, realizada com alunos do Curso de Design de Moda da FAV/UFG, na disciplina de Modelagem Plana e Tridimensional I. Essa atividade tem o intuito de levar o aluno a experimentar e refletir sobre o processo de modelagem e sobre relações entre suporte (corpo/pedra), material e métodos na construção de roupas. A pesquisa apresenta uma revisão histórica dos métodos de modelagem plana e tridimensional, descreve a proposta pedagógica de construção de objetos vestimentários modelagem de tecido em pedras - e reflete sobre percepções e sentidos dessa experiência para futuros designers. A metodologia usada é a pesquisa-ação, perspectiva que orientou a compreensão e interpretação destas percepções examinando sua contribuição e impactos para a formação de designers.