Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.

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A través de los años, el rubro de la moda ha ido atravesando por diversos cambios, los cuales han impulsado a que las marcas se adapten a estos e implementen constantemente propuestas innovadoras que cumplan con las exigencias del público. Por ello, como parte del cambio, la moda se ha adaptado de manera rápida a las últimas tendencias a través de un movimiento acelerado llamado fast fashion. Un claro ejemplo de marca exitosa que opera con el fenómeno de moda rápida es la firma española Zara. Esta se caracteriza por su gran manejo de innovación, flexibilidad, rápida recepción de tendencias y producción acelerada para posicionarse exitosamente en el mercado y en la mente de los consumidores. Del mismo modo, Zara aplica diversas estrategias; entre ellas, las de diseño para influir en la decisión de compra de los consumidores y motivarlos a que adquieran artículos en algunos de sus establecimientos. La presente investigación con enfoque cualitativo busca conocer las estrategias de diseño de la marca Zara. Por ello, la pregunta de investigación es la siguiente: ¿De qué manera influyen las estrategias de diseño de la marca fast fashion Zara en la decisión de compra de indumentaria de las mujeres del sector A y B en Lima en los últimos 8 años? Por tal motivo, el trabajo describe las estrategias de diseño que usa Zara para atraer cada vez a más clientes e incentivarlos a comprar indumentaria en las tiendas y a la vez, para mantenerse un paso más adelante de la competencia. / Over the past years, the fashion business has gone through several changes, which have encouraged brands to adapt them and constantly implement innovative proposals that satisfy the demands of the public. That’s why, as part of this change, the fashion industry quickly adapted to the latest trends through an accelerated movement called “fast fashion”. A clear example of a successful brand that operates with this phenomenon, is the firm “Zara”, which is characterized by it’s great handling of innovation, flexibility, quick reception of trend and production to position itself successfully in the market and in the mind of the consumers. In the same way, Zara applies different strategies; between them, the design to influence the decision of buy items in some of their establishments. This investigation, with a qualitative approach, seeks to know the strategies of the Zara brand. Therefore, the research question is the next: How the design strategies of Zara influences in the decision to buy women’s clothing from sector A and B in Lima over the past 8 years? For this reason, this works describes the design strategies that Zara uses to attract more and more customers and motivate them to buy clothing in some of the stores and, at the same time, to stay one step ahead of the competition.

This thesis aims to highlight the smock-dress within the context of Soviet-Estonia during the post-war epoch, ca. 1950s until 1990s. Through Mauss’s socio-anthropological tripoint view, the concepts and identities of the smock-dress are studied from the angles of biology, sociology and psychology. The intention is to show its widespread use amongst Soviet- Estonian women and their remembrance of it, in accordance with the Soviet ideological structures. Using semi-structured interviews, I have assembled oral history from women who attain this historical retrospective, aiming to depict the smock-dress as both a concept and an object, thus functioning as an emblem of Soviet society rather than a historical artefact. Relying on the terms nostalgia, socio-cultural belonging and phenomenology, I seek to capture the smock-dress as both a vestiary phenomenon and representation of social structures. Thus, creating a dual identity, individual and collective, through its usage, showing that sartorial fashion encompasses more than just emotions and promoted stylistics.

El presente trabajo tiene el objetivo de investigar acerca de todos los aspectos estéticos de la indumentaria femenina del Rococó para abstraerlos como fuentes de inspiración para la creación de una colección de moda. La moda es cíclica y cada una de sus facetas es importante para su evolución. A lo largo de la historia se han desarrollado diferentes estilos que marcaron el mundo artístico del diseño. Debido a ello diferentes casas de moda toman como referencia la moda del pasado para revalorarla en el presente y presentar una propuesta moderna. La indumentaria Rococó es una muestra de ello, pues presenta una estética particular del siglo XVIII en Francia, la cual refleja un deseo egocentrista de poseerlo todo. Se caracteriza por un excesivo cargo de elementos ornamentales en las prendas femeninas, lo cual simbolizaba las riquezas de los aristócratas. No obstante, la mujer era el centro de atención y se buscaba resaltar una silueta estereotipada para la época. Estos fueron aspectos importantes que marcaron un antes y un después en la historia de la moda. / The present work aims to investigate all the aesthetic aspects of Rococo women's clothing to abstract them as sources of inspiration for the creation of a fashion collection. Fashion is cyclical and each of its facets is important for its evolution. Throughout history, different styles have been developed that marked the artistic world of design. Due to this, different fashion houses take the fashion of the past as a reference to revalue it in the present and present a modern proposal. Rococo clothing is an example of this, as it presents a particular aesthetic from the 18th century in France, which reflects a self-centered desire to own everything. It is characterized by an excessive amount of ornamental elements in women's garments, which symbolized the wealth of the aristocrats. However, women were the center of attention and they sought to highlight a stereotypical silhouette for the time. These were important aspects that marked a before and after in the history of fashion. / Trabajo de investigación

El tema general de la investigación es la respuesta de la indumentaria al contexto social. Esta enfocado en la masculinización de la indumentaria femenina de los años veinte en Europa. El tema general se aborda desde dos perspectivas. La sociología del vestir determina la importancia que tiene la indumentaria en la sociedad y como es que a partir de esta se puede entender la época en la que se vive. La psicología del vestir determina que la indumentaria y la acción de vestir el cuerpo, puede otorgar a las personas valor para sí mismos y valor dentro de la sociedad. El tema específico, se aborda el contexto social el cual comprende el fin de la Primera Guerra mundial y la pandemia por H1N1. Asimismo, abarca los cambios sociales de la década del veinte y su influencia en la indumentaria femenina. Además, se definen términos como masculinización y se desarrollan dos arquetipos de las mujeres de la época, «La Garçonne» y «Flappers». Además, se desarrolla el proceso creativo de una colección de indumentaria femenina. Para poder desarrollar la colección se inició con la búsqueda de antecedentes de diseño y se describe el usuario objetivo de la colección. El proceso creativo cuenta con imágenes de las mujeres de los años veinte y de estilo loungwear. Además, registra el proceso mediante moodboards, bocetos, ilustraciones y dibujos técnicos de prendas. Para aterrizar la colección a un mercado peruano, se realizó una entrevista a un diseñador de indumentaria para obtener un punto de vista más cercano y desde la realidad peruana. La colección final cuenta con diez looks, los cuales se encuentran ilustrados al final del documento. / The main topic of the research is the response of clothing to the social context. It is focused on the masculinization of the female clothing of the twenties in Europe. The main topic is approached from two perspectives. The sociology of clothing determines the importance of clothing in society and how it is that from this we can understand the time in which we live. Dress psychology determines that clothing and the action of dressing the body can give people value for themselves and value within society. The specific topic addresses the social context which includes the end of the First World War and the H1N1 pandemic. It also covers the social changes of the twenties and their influence on women's clothing. In addition, terms such as masculinization are defined and two archetypes of the women of the time are developed, "La Garçonne" and "Flappers". In addition, the creative process of a collection of women's clothing is developed. In order to develop the collection, the search for design antecedents was started and the target user of the collection was described. The creative process features images of 1920s and loungwear women. In addition, it records the process through moodboards, sketches, illustrations, and technical drawings of garments. To land the collection in a Peruvian market, an interview was conducted with an apparel designer to obtain a closer point of view and from the Peruvian reality. The final collection has ten looks, which are illustrated at the end of the document. / Trabajo de investigación

La presente investigación plantea como objetivo conocer cuál es la percepción de los estudiantes de moda de la UPC sobre la indumentaria genderless como una forma de comunicación de equidad de género en Lima en la actualidad (2020). En Perú, actualmente, el género está definido por un sistema formado por estereotipos binarios. La sociedad está presentando cambios frente a las críticas de dichos estereotipos que impiden la libertad de expresión y aceptación del ser humano. Esto puede verse reflejado en la indumentaria y los mensajes sociales, políticos, económicos y culturales que esta comunica. La indumentaria genderless que las personas puedan comunicar factores desligados a lo superficial, lo que contribuye con la libertad para construir su identidad. Esta investigación proporciona un punto de vista sobre la posible relación de la indumentaria genderless y la equidad de género. La investigación se realizó con una metodología con enfoque cualitativo y diseño de investigación fenomenológico. Para lograr esto se realizará una recopilación de información teórica y una investigación de campo mediante entrevistas a alumnas de la carrera de Diseño y Gestión en Moda de la UPC. / The present investigation aims to know which is the perception of the fashion students of the UPC about the genderless clothing as a form of communication of gender equity in Lima at the present time (2020). In Peru, gender is currently defined by a system formed by binary stereotypes. Society is changing because of criticism of these stereotypes, which inhibit freedom of expression and acceptance of human beings. This can be reflected in clothing and the social, political, economic and cultural messages it communicates. Genderless clothing allows people to communicate factors unrelated to the superficial appearance, allowing them freedom to build their identity. This research provides a point of view on the possible relationship between genderless clothing and gender equity. The research was carried out with a qualitative approach methodology and phenomenological research design. To achieve this, a collection of theoretical information and field research will be carried out through interviews with students of the Fashion Design and Management career at the UPC. / Trabajo de investigación

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This thesis investigates the wedding dress in the 21st century in Sweden. Interviews provided the main material for the analysis of the wedding dress and its connotations. Erving Goffman’s theory on performances in everyday life and Efrat Tsëelon’s thoughts on modesty connected to the female body is used as a theoretical framework in this thesis. The wedding dress is also analyzed as an object, and thoughts from material culture are implemented when discussing the cultural connotations of the dress. The wedding dress is only worn during the wedding ceremony, and it evokes thoughts on performances and identity due to cultural values and expressions that the bride either identifies with or not. Being dressed as a bride is deemed less authentic than being dressed in everyday clothes and is compared to a masquerade garment. The Swedish word utklädd, which means being dressed out in different ways, is a common factor and description of wearing a wedding dress in Sweden in the 21st century.