Thesis (M.S.)--University of North Texas, Dec., 2008. / Title from title page display. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 59-61). Also available in print.

Thesis (Ph.D.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 253-268) Also available in print.

Thesis (M.Phil.) - University of Queensland, 2005. / Includes bibliography.

Thesis (doctoral)--Universität, Wien, 2001.

Thesis (Ph. D.)--Ohio State University, 1986. / Includes vita. Includes bibliographical references (leaves 269-274). Available online via OhioLINK's ETD Center.

Thesis (M.S.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 24, 2007) Includes bibliographical references.

Capes / O processo de desenvolvimento de produto do vestuário (PDPV) sofre influência da moda, esse fator confere a esse processo dinamismo e exige rapidez durante o desenvolvimento. As empresas desenvolvem seus produtos em linhas sazonais (coleções) em vez de produtos individuais, com uma grande quantidade de produtos por coleção e várias coleções ao ano. Consequentemente apresentam um curto período de tempo para o desenvolvimento de cada coleção. Neste sentido, a adoção de estruturas organizacionais adequadas e de boas práticas para o PDP, pode ajudar a melhorar o desempenho desse processo na indústria de confecção, que é essencial para a competitividade das empresas. Por meio da utilização de modelo de referência a empresa pode criar sua própria estrutura para a realização das atividades, de modo que o modelo se adapte a realidade da empresa, e ao mesmo tempo sistematize as atividades e estruture o processo. O objetivo desse trabalho foi propor um modelo de referência específico para a indústria do vestuário, adaptado as suas características. Este pode ser um caminho para estas empresas estruturarem seu PDP, aumentando o desempenho do processo e consequentemente dessas empresas no mercado. A abordagem do problema foi qualitativa e o desenvolvimento do modelo foi por meio de revisão de literatura e pesquisa de campo. A coleta de dados foi realizada por meio de entrevistas com empresas, profissionais e professores da área de PDPV. O objetivo das entrevistas foi de mapear o PDP nestas áreas. A construção do modelo foi feita em três etapas. A primeira etapa foi de construção de uma representação teórica, ou seja, um modelo teórico desenvolvido por meio da comparação de um modelo de referência genérico e modelos específicos para o vestuário. A segunda etapa foi de comparação do mapeamento das entrevistas com a representação teórica, confrontando a teoria e a prática. A terceira etapa foi o desenvolvimento do modelo propriamente dito. O modelo está desmembrado em macro-fases, fases e atividades. Cada fase foi detalhada com o fluxo de atividades e seus responsáveis, além das entradas e saídas de documentos e informações. O desenvolvimento do modelo de referência proposto vem de encontro com essas informações levantadas na literatura e nas entrevistas. Logo, pode estar contribuindo para a estruturação do processo no âmbito industrial e pesquisas na área de desenvolvimento de produto do vestuário, no âmbito acadêmico. O modelo de referência para o PDPV é uma junção de boas práticas que podem ser utilizadas em sua totalidade para estruturar com flexibilidade o PDP, ou ser utilizado parcialmente por meio de uma adaptação, ajustando-se à realidade a qual será utilizado. / The process of product development of apparel is greatly influenced of fashion, this fact gives this process great dynamism and speed development time. Companies develop their products in seasonal lines (collections) rather than individual products, with a batch of products by collection, several collections a year and therefore have a short time for the development of each collection. In this sense, the adoption of appropriate organizational structures and best practices for the PDP, can help to improve the performance of this process in the apparel industry, which is essential for the competitiveness of companies. Through the use of the reference model the company can create its own structure to carrying out the activities, so that the model fits the reality of the company, while systematize the activities and structure the process. The aim of this study was to propose a reference model specific to the apparel industry (PDPV), adapted to their characteristics, can be a way for these companies to structure their PDP, increasing process performance and consequently these firms. An approach to the problem was qualitative and the development of the model was through literature review and field research. Data collection was through interviews with companies, professionals and professors from sector PDP apparel. The purpose of the interviews was to map the PDP in these sectors. The model construction was done in three steps. The first step was the construction of a theoretical representation, that is a theoretical model developed by comparing of a reference model generic and specific models for garments. The second step was to compare the mapping of interviews with the theoretical representation, confronting theory and practice. The third step was the development of the model itself. The model is split into macro-phases, stages and activities. Each phase was detailed with the flow and those responsible for each activity, and the inputs and outputs of documents and information. The development of the reference model is proposed of encounter with those collected information in the literature and in interviews, then may be contributing to the design process in industry and research in the sector of product development apparel in the academic realm. The reference model for PDPV is a conjunction of best practices that can be used in its entirety with flexibility to structure the PDP, or be used by partially adapting, adjusting to the reality which will be used.

Thesis (BTech (Fashion Design)--Cape Peninsula University of Technology, 2010 / The study within my context is one of a personal nature with regards to the suitable selection of fabrics for a ladies clothing range. I've always played around with the idea of designing a ladies clothing range using hessian as my fabric of choice, not for any particular reason in mind just simply, ... ."that's what I felt like doing at the time", this however was not received well, it was considered by lecturers, my peers and family members, as an inappropriate selection of fabric for a ladies clothing range. This lead me into thinking that as a designer I am bound by design ideals which restricts my creativity to explore and experiment. Is it then not a possibility that I could set my own design ideal? Given the negativity surrounding such a proposal, I chose to research this concept regardless, that is after all what research is about, exploration and experimentation. I chose to follow in the footsteps of the late Gabrielle "CoCo" Chane!. "In order to be irreplaceable one must always be different." Chanel(icelebz.com,2009)

Master of Arts / Department of Modern Languages / Sara R. Luly / In Das Leben der Hochgräfin von Rattenzuhausbeiuns, written by Bettina von Arnim and Gisela von Arnim Grimm, the material used to dress the bodies of young girls is unexpected and non-traditional. There are characters clothed in dresses made from the pages of books, bearskin coats, butterfly wings, onion root wigs, and many other bizarre materials. The main protagonist, Gritta, experiences, what Katheryn B. Stockton conceptualizes as “sideways growth,” or a non-linear, non-heteronormative childhood. The initial book-dress foreshadows the developmental possibilities for the protagonist Gritta. In this paper I argue that the text uses clothing made of non-traditional materials to construct queer girlhood for the female characters, and in doing so provides possible paths of “sideways growth.”