This thesis presents the written documentation and evaluation of the costume design of Southern Illinois University Carbondale’s production of Intimate Apparel.Chapter One is a detailed analysis of the script, including the historical background of the main character and the time period in which the play is set. The second chapter discusses my design process and collaboration with the director and other designers. Chapter Three is a description of the build for the show as well as problems that arose during the process and the resulting solutions. The final chapter is a self evaluation of my design process and an assessment of the build. In the appendices of this document are alternative designs for the show, essential paperwork, renderings for each character, and production photos.

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Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfondie de l'univers des représentations liées à la mode, plus particulièrement à un vêtement : le bustier-corset. Se pose la question des rapports qu'entretiennent l'art et cet artisanat spécifique qu'est la couture. Nous pouvons l'étudier à travers les œuvres d'artistes telles que Natacha Lesueur, Jana Sterbak, Niki de Saint Phalle, Annette Messager et Elsa Schiaparelli. Il est à remarquer que la plupart de ces artistes étaient féministes et nous pouvons faire l'hypothèse qu'un travail esthétique de cette nature, impliquant une réflexion sur l'image de la femme, incite à une prise de conscience et de position sur la place qu'on lui donne dans la société. Un point de vue ironique, voire burlesque, a souvent été recherché pour créer une distanciation, un effet de surprise propre à déclencher une prise de conscience. Il est d'ailleurs également possible d'investiguer le corps de la femme et l'imaginaire qui l'entoure à travers l'existence et l'utilisation de symboles tels que la passementerie, le bijou, les matières brillantes et clinquantes. Bien que la représentation de la mode ait toujours existé dans les Arts, ce travail se focalisera sur les artistes des périodes modernes et contemporaines, qui accompagnent la naissance du design et son développement. Cependant il sera nécessaire de s'interroger sur ce qui s'est joué pendant la Renaissance, période pendant laquelle la notion de métiers d'art s'est développée, et sur l'historique du bustier, de son apparition jusqu'à sa déconstruction. Enfin, comment situer certaines de ces démarches en se référant aux notions d'art majeur et d'art mineur ? Faut-il dissocier des démarches artistiques de techniques différentes ? Pour figer le travail à un style correspondant à des normes dictées. / The research work gradually focused on a more and more deeper investigation of the universe related to fashion, and more particularly to a garment : the strapless corset. This raises the question of the relationships between art and the sewing craft work. We can look into it, through the work of artists such as Natacha Lesueur, Jana Sterbak, Niki de Saint 1 Phalle, Annette Messager and Elsa Schiaparelli. We can notice that most of these artists were feminists and we can make the assumption, that an esthetic work of this nature, involving a reflection on the image of women, creates an awareness on the position we confer to them in our society. Very often, an ironic attitude, even burlesque (or caricatural) was often looked for, to create a distance, and an attitude of surprise, appropriate to trigger an awareness of the situation. Moreover, it is also possible to investigate the body of the woman and the fantast around it, through the existence and the use of symbols such as trimmings, jewels, and bright and flash y materials. Although the representation of fashion has always existed in Art, this work will focus on modern and contemporary artists, who accompanied the birth and the development of the design artwork ... However it is also necessary to take into consideration, what happened during the Renaissance period, during which the notion of craftsmanship has developed, as well as the pathway of the bustier, from its creation until its deconstruction. And finally, how to position some of these works (or analysis) in conjunction with major art, and minor art, art work and artcraft ? Are they an extension of technical and symbolic practices so it leads to a combination.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This work introduces usable, washable garments made from woven and knitted paper to the field of fashion. With the rise of mass production and over consumption, the value of clothes and textiles decreases, and the pollution from non-renewable materials increases. By utilizing paper in clothes as a new sustainable textile alternative, working with the aesthetics of pleats to elongate the body, and the transformative effects of the corset to build and shape the body, displacing the gender, to work with androgyny as a way to showcase the finish work reference historical gender normatives in Buddhist art. This work depicts a collection with emphasis on the body (wearer of clothing and social construction) and construction (which uses the body and tradition), tradition (expectation and displacement) whilst also working with future issues of sustainability using exclusively paper textile.

Made available in DSpace on 2016-04-26T18:14:44Z (GMT). No. of bitstreams: 1 Marilia Hernandes Jardim.pdf: 54375032 bytes, checksum: 754a2bce65f2359960e8f42da67f083a (MD5) Previous issue date: 2014-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study investigates the feminine torso constriction obtained through the corset use, which presents a fundamental role on the feminine body conformation, and a pronounced function of transforming the social logic. Also, the silhouette configurations by him realized significantly alter the interaction between constricted bodies and other subjects. It is possible to postulate thus that the corset is an interactive subject, whose role is part of the social logic shaping, and not its reflex. From this point, the studied problem is the identification of the relation between the conformation of the silhouette and a consequent social interaction determination, arisen from the apprehension modes that surface from the body plastic endowed by the garment. Far from constituting a historical fashion problem, the use of constrictive lingerie present as a hodiernal topic, especially on the West, where significant efforts are devoted on the development of shaping objects, consumed by women from all ethnicities and social backgrounds. In order to understand the meanings that emerge from this complex and risky interaction between corset and body, it is necessary to seek the phenomenon origins on 18thcentury western fashion, when the corset use as an undergarment began. From this use, we purpose the identification of emblematic moments of such practice, as well as the ruptures on its continuity, designing to recognize, in those fractures, the specific roles assumed by corset and body, to categorize the transits between corset use continuity and discontinuity. For such, the study call on an extensive research corpus, formed by corset, crinoline and gown images collected from museum collections, as well as virtual stores lingerie photographs and images that can help on reconstructing the studied body tendencies, as advertising and painting reproductions. In the light of Landowski's socio-semiotic, Greimas's semiotic theory and Floch's and Oliveira's visual semiotics, we investigated the uses and apparel configurations, isolating the relations of complementarity between the roles played by the actors corset and body, which underlies the dominance of the first as body's addresser, as well as other relations between those two roles, which reveal a body leadership, important former of fashion and social surroundings passages / Esta pesquisa investiga a constrição do torso feminino praticada pelo uso do corset, que apresenta um papel fundamental na conformação do corpo feminino e uma marcada função na transformação da lógica social, uma vez que as configurações de corpo por ele realizadas alteram significativamente a interação entre os corpos constritos e os demais sujeitos formadores deste entorno social. É possível postular que o corset pode ser abordado como um sujeito da interação, cujo papel aparece como parte da formação das lógicas sociais, e não como um reflexo destes contextos. A partir daí, o problema abordado é a identificação da relação entre a conformação da silhueta e uma consequente determinação da interação social, advinda dos modos de apreensão que emergem da plástica conferida ao corpo pelo traje. Longe de constituir uma problemática pertinente ao estudo da moda de época, o uso de lingeries constritoras apresenta-se como um temário extremamente atual, sobretudo no Ocidente, onde grandes esforços são empregados pela indústria na produção de objetos constritivos, difundidos entre mulheres de todas as etnias e classes sociais. Para entender os sentidos que emergem desta complexa e arriscada interação entre corset e corpo, se faz necessária a busca das origens deste fenômeno na moda ocidental do século XVIII, quando consolidou-se o uso do corset como roupa interior. A partir deste uso, buscamos identificar momentos emblemáticos desta prática, bem como as rupturas em sua continuidade, com o objetivo de localizar nestas fraturas os papéis específicos assumidos, nas interações, pelo corset e pelo corpo, para categorizar, a partir deles, os trânsitos entre continuidade e descontinuidade do uso do corset. Para tal, este estudo recorre a um extenso corpus de pesquisa, formado por imagens de corsets, crinolinas e trajes colhidas de acervos de museus, bem como fotografias de lingeries comercializadas em lojas virtuais, além de imagens que auxiliam na recontrução das tendências de corpo estudadas, como publicidades e reproduções de pinturas. À luz da sociossemiótica de Landowski, da teoria semiótica de Greimas e da semiótica visual de Floch e Oliveira, conduzimos uma investigação destes usos e configurações vestimentares, que nos possibilitou isolar as relações de complementaridade entre os papéis dos atores corset e corpo na narrativa vestimentar, que embasam a dominância do primeiro como destinador do corpo, além das demais relações entre estes dois papéis, reveladoras de um maior protagonismo do corpo, importante formador das passagens da moda e do entorno social que a engloba

La scoliose est une déformation du rachis dans les trois plans de l'espace. Cette déformation est évolutive pendant toute la croissance. Les enjeux sont pronostics et thérapeutiques. L'étude de la déformation scoliotique en 3D grâce aux méthodes d'imagerie actuelles a permis de décrire un schéma spécifique 3D de scoliose évolutive à partir de paramètres du plan transversal. Ce schéma spécifique 3D est indépendant de la topographie de la scoliose et apparaît tôt dans l'évolution de la scoliose. Prédire l'aggravation mène à pouvoir anticiper le traitement pour les scolioses à risque. Le traitement conservateur par corset reste le traitement de choix en période de croissance. Mais il n'est pas consensuel. L'étude de l'effet en 3D des corsets, au cas par cas, a permis de montrer la grande variabilité de l'effet des corsets sur l'ensemble des paramètres 3D rachidiens et pelviens. Les corsets prennent appui sur la cage thoracique. Leur effet sur la forme 3D de la cage thoracique est mal connu par manque de méthode d'analyse fiable et reproductible en position debout validée chez les patients scoliotiques. La méthode de reconstruction 3D de la cage thoracique à partir de radiographies biplanaires calibrées, développée et validée au LBM chez des patients sains, a fait l'objet dans ce travail, d'une validation chez les patients scoliotiques. L'accès à la morphologie 3D du rachis et de la cage thoracique a donc permis d'étudier de façon préliminaire l'effet des corsets sur la cage thoracique. Cette étude a montré une grande variabilité de l'effet des corsets et a permis de poser les bases de futures études cliniques et biomécaniques visant améliorer la compréhension de l'effet 3D des corsets sur le rachis et la cage thoracique.

Background: Subcapsular hematoma of the liver is a potentially life-threatening but extremely rare condition. It is often caused by a blunt trauma or other predisposing conditions such as a liver tumor, intra-tumor hemorrhage, surgery, preeclampsia, liver biopsy, and hemodialysis. Predisposing causes of liver hematoma include its large size and proximity to fixed structures. To date, there have been no reported cases of subcapsular liver hematoma caused by tight clothing such as corsets. Our case report is about an extremely rare case of subcapsular hematoma of the liver caused by wearing a tight faja corset in a young healthy female. Case presentation: A forty-five-year-old Spanish female without any underlying health problems presented with sudden onset epigastric and right upper quadrant abdominal pain after wearing a faja corset the night prior to the hospital presentation. CT abdomen was noted for subcapsular hematoma of the liver. Her symptoms persisted and repeat CT abdomen showing worsening of the liver hematoma. Patient had interventional radiology (IR) guided drainage and was subsequently discharged home. Conclusions: Subscapular liver hematomas need to be considered in patients presenting with acute onset abdominal pain after wearing certain tight clothing. The necessity of an early and accurate diagnosis is vital for management as hemodynamically stable patients can be managed conservatively. Our patient was managed with IR-guided aspiration drainage of the hematoma. Surgery can be considered a last resort in case of life-threatening hemodynamic instability, peritoneal signs, free abdominal fluid, and failure of arterial embolization. Our case highlights the importance of early recognition of traumatic subcapsular hematomas to prevent life-threatening complications.

Yes / Corsets have been used both to create a fashionable silhouette and as an orthopaedic treatment for spinal conditions, but skeletal changes associated with the use of corsetry are rarely reported on in the palaeopathological literature. Here, we report on a 19th-century adult male with Pott’s disease of the vertebral column and related vertebral compression deformities, which probably result from the use of a corset. Wolverhampton HB40 presented destruction of the vertebral bodies of T6 to L4, ankylosis of the apophyseal joints of L1 and L2 and an angular kyphosis of the lumbar region, the result of tuberculosis. The presence of flattened spinous processes and bilateral acute angulation of multiple ribs in the lower thoracic region is indicative of plastic deformation caused by the use of the corset. The presence of both of these changes in an adult male, at a time when the use of cosmetic corsets by men was in decline, suggests that the compression trauma was the result of an orthopaedic corset used to correct the defective posture resulting from tubercular kyphosis, although corset use to obtain a fashionable silhouette cannot be ruled out.