The purpose of this research was to identify the expertise of CAD graphics operators/managers in the design and marketing phases of textile/apparel product development. Additionally, the purposes were to determine the effect of CAD graphics on product development in the textile/apparel industry, and to identify future needs and uses of CAD graphics in the industry. A questionnaire was sent to 117 CAD graphics operators/managers. The results from the questionnaire were obtained through frequency and percentage distributions. The major findings of this study concluded that textile design and/or colorations and coloration of sketches were the major uses for CAD graphics systems. The shortening of response time of development of idea in design cycle was the major benefit of using a CAD graphics system. Future needs and wants were found to be mainly in the areas of better color control, matching and selection, better resolution in printing, and faster, larger printout capabilities. / Master of Science

The issue of a Muslim woman‟s dress code has been debated for centuries. This is of great importance as it is widely used as a criterion to measure the extent of a woman‟s piety or devotion to Allah. A study of the religious texts on the issue is essential. Therefore, Qur‟anic text, Prophetic Traditions and Qur‟anic exegesis of both classical and modern scholars would have been used in determining the correct dress code for Muslim women. While all research indicates that women dress conservatively, in order not to attract the attention of the opposite sex. The extent to which a woman must be covered has not been agreed upon. Even if what has to be covered is established by scholars, the manner in which this is to be done and the type of colours and fabric to be used needs further clarification. The issue of the female dress code needs to be presented from a female perspective. / Religious Studies and Arabic / M.A. (Islamic Studies)

The issue of a Muslim woman‟s dress code has been debated for centuries. This is of great importance as it is widely used as a criterion to measure the extent of a woman‟s piety or devotion to Allah. A study of the religious texts on the issue is essential. Therefore, Qur‟anic text, Prophetic Traditions and Qur‟anic exegesis of both classical and modern scholars would have been used in determining the correct dress code for Muslim women. While all research indicates that women dress conservatively, in order not to attract the attention of the opposite sex. The extent to which a woman must be covered has not been agreed upon. Even if what has to be covered is established by scholars, the manner in which this is to be done and the type of colours and fabric to be used needs further clarification. The issue of the female dress code needs to be presented from a female perspective. / Religious Studies and Arabic / M.A. (Islamic Studies)

v anglickém jazyce The dissertation thesis with title "Presumptions of the formation of the modern men's suit" elaborates the general and unique features in the typology of men's court, military and ecclesiastical clothes. Research, which is based on written, iconographical and material sources, is aimed at environment at the court of the Austrian Habsburgs in early new ages from the end of the 15th century till beginning of the 90s of the 18th century having respect to history of clothing in the in Czech countries in the context with European clothing culture. The conception of the thesis goes out from the approach to men's suit in the history of clothing as to the cultural discipline. The main theoretic-metodological basis is investigsation of the general and the unique features in the concrete types of the men's clothing, which are characterized most of all of the contemporary construction (cut), material (cloth) and colours of the men's clothing and which has got the style-forming importance by means of these general features. The results of the research work amplifies not only the knowledge in the area of the clothing history, but also brings the possibility of practical application of this knowledge to increase of the cultural values of written, iconographical and material memories with time,...

Bislang galt die Theorie, dass die gesamte griechische Kleidung auf einem einfachen System der Herstellung beruhe. Das heißt, ohne komplizierte handwerkliche Prozesse sowie Schneidertechniken sei es möglich, aus einer oder zwei rechteckigen Stoffbahnen verschieden aussehende Gewänder bzw. Kleidungsstücke insbesondere durch Drapierung und Hilfsmittel zu erzeugen. Dies gilt auch für das als Chiton benannte Kleid, das nur an bestimmten Stellen zusammengenäht sein soll. Bisher wurden alle als Chiton bezeichneten Kleider-Darstellungen aus höchstens zwei möglichen Grundformen hergeleitet. Ziel meiner Forschung war es herauszufinden, inwieweit die Theorie plausibel ist, dass die verschieden aussehenden Phänotypen des Chitons, die allgemein als Trageweisen und Varianten aufgefasst sind, alle aus dieser hypothetischen Grundform in so vielfältiger Weise herstellbar sind. Ebenso sollte auch die mögliche Existenz anderer Schnittkonzepte berücksichtigt und diskutiert werden. Abhängig vom Ergebnis gestaltet sich dann die Frage, ob die wiedergegebenen Kleiderformen in ein bestimmtes System eingeordnet werden können und inwieweit ihre frühere Einteilung und Benennung in der Form noch anwendbar ist. In dieser Arbeit hat sich herausgestellt, dass die abgebildeten Kleider nicht allein aus einer rechteckigen Basisform hergestellt sind und ihre Konstruktion sowie Anfertigung sich facettenreicher gestaltet als bisher angenommen. Neben abwechslungsreichen Schnittkonzepten, die auch unterschiedlich getragen werden konnten, scheinen einige sogar Kleiderkombinationen wiederzugeben, die sich aus mehreren Kleidern und einzelnen Kleidungsstücken zusammensetzen können, die aber noch im Detail erschlossen werden müssen. Aus diesen Gründen konnte die Diskussion hinsichtlich einer potenziellen Zuordnung nicht mehr als angerissen werden, denn der Versuch einer systematischen Einteilung der Kleider nach bestimmten Kriterien ist nur bedingt möglich und nicht als absolut zu betrachten. / Until now, it is assumed that ancient Greek clothing was based on a simple construction system. That means most garments were made by draping rectangular cloth panels around the body that could be closed by pins, seams, or a combination of both. For doing so, no complicated production process seems necessary, and no special tailoring techniques are needed. It also applies to the dress known as a chiton, which should be sewn together only at certain points. So far, all dress renderings identified as chitons have derived from a maximum of two possible basic patterns. My research aimed to explore if the theory is plausible that the different-looking phenotypes of Greek chiton, most commonly understood as ways of wearing and variations, can all be created from the same hypothetical basic form in various ways. Also, the potential existence of other concepts for making the represented dresses that differ in form, design, measures, and fabric structure should be discussed. Depending on the outcome, the question will be raised whether the depicted dresses can be classified into a specific system (due to construction, form, measures, etc.) and to what extent the former classification and naming are still applicable. This study has demonstrated that the dresses in the pictorial sources are not created exclusively from a rectangular shape and just one basic pattern. Moreover, not only their construction but also their making is more complex than previously assumed. They also contain a variety of construction concepts, which could also be worn in many ways. Furthermore, some dresses appear to represent dress combinations, which may consist of several dresses and single items of clothing, but this has yet to be investigated in detail. The discussion regarding a potential classification could not be more than scratched, as the attempt to systematically classify the dresses according to certain criteria is limited and cannot be seen as absolute.

The literature survey reports that persons electing cosmetic plastic surgery for aesthetic or medical reasons, or those persons not electing any form of surgery, often experience physical, psychological and socio-cultural problems. The complexity among the associated variables, body images, identity status, fashionable clothing behaviour and social self-consciousness were investigated comparatively, using a biopsychosocial approach. The samples consisted of cosmetic surgery patients (n=25), Black and White female fashion participants (n=60) and breast oncology case studies (n=3). The research methods included descriptive and inferential statistics. A maximum of six questionnaires was administered per individual. The results indicated that a positive body image perception was related to identity integrity, fashionable dressing and a sense of social acceptance. Insight into the importance placed on the body as a means of self-expression can contribute to successful cosmetic and breast oncology surgery and also promote intercultural harmony, by reducing body-based prejudice. / Psychology / M.A. (Psychology)

This thesis sets out to investigate the changing social significance of the hand-block printed and resist-dyed cottons of Rajasthan. Once a vital part of the region’s everyday rural textile and dress traditions, communicating information about its wearers and demonstrating the craftsmanship of its makers, today block printed textiles are produced primarily for export and tourist markets. In the space of just a few decades the growing effects of globalisation have wrought irrevocable change upon this traditional craft. Under the pressures of new market forces, modern hand block printed textiles bear little resemblance to their traditional counterparts. Drawing on an ethnographic perspective in general, and an ethnomethodological perspective in particular, the main objective of this thesis is to develop a deeper understanding of traditional hand block printed and resist-dyed textiles – with particular focus on the modernisation of traditional forms of hand block printing in Rajasthan, and the various strategies and experiences which the craftspeople have undertaken to deal with the changes to the market for their products. Using the recent history of block printed cloth production in Rajasthan, as told by local artisans, it explores the manner in which such phenomena as modernisation and globalisation are embodied by shifts in production technology, design aesthetics, and market forces. In order to explore the rural roots and chart the dramatic recent modernisation of the craft this thesis identifies and documents the range of textiles traditionally made by the region’s hereditary communities of cloth printers and dyers, and investigates their role in the projection of identity, exploring the changing communicative function of these textiles, notably with the rise of synthetic fabrics, among the rural communities of Rajasthan. In doing so, this thesis investigates how the consumption of hand block printed textiles has changed over the past forty years and considers the impact of the growth of export and tourism on traditions of cloth printing in the region. It is a socially situated study, based on extensive firsthand fieldwork with the Chhipa community of hereditary cloth printers, making use of ethnography, photography, and personal experience of textile dyeing, printing and design. By developing methodologies based on the detailed documentation of the technologies, materials and processes involved in hand block printing this thesis seeks to update and expand upon the existing literature on the craft by providing and analysing contemporary accounts of family traditions and modern developments in use by current generations of artisans. In doing so this thesis also contributes to current discourse on the preservation of craft knowledge as a form of intangible cultural heritage. The study is primarily located within the field of Indian textile and dress studies. It contributes to contemporary ethnographies of textile crafts through the detailed analysis of print and dye technologies, and, by also considering the meanings and values of block printed cloth as clothing, adds to the literature on the social role of textiles and dress with a regionally-specific focus on the role of pattern and colour. By focussing on the communicative functions of pattern and cloth, it also enhances cross-disciplinary attentions to regional identities and intangible cultural heritage. Finally it engages with the very local processes of globalisation and the contemporary values of handcrafted cloth.

This study investigated factors influencing the selection of apparel worn to work by women who attended fashion and wardrobe seminars in the Dallas-Fort Worth metroplex. Clothing selection factors were analyzed by computer according to age, marital status, work status and education. The majority most frequently wore suits and separates to work. Single participants preferred separates. Most wore sizes considered average. Respondents most frequently purchased apparel from department stores. Brand name and designer apparel were occasionally purchased. Though interested, few respondents had taken advantage of personal consultant services. It was recommended that retailers make wardrobe services known to the public.

In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.

Anne d’Autriche occupe une place importante, longtemps négligée, dans le développement de l’iconographie royale en France au XVIIe siècle. Ecartée du pouvoir sous le règne de son mari Louis XIII, elle est pourtant le sujet de très nombreuses représentations. Sa présence dans le champ des images connaît un net développement lorsqu’elle accède aux responsabilités du gouvernement à la mort du roi, en 1643, en devenant régente au nom de son fils mineur, Louis XIV. Au-delà de sa majorité en 1651, elle conserve un rôle éminent, jusqu’à la mort de Mazarin en 1661. Ces deux décennies sont marquées par une profonde crise politique qui culmine dans l’épisode de la Fronde. Dans ce contexte, l’image d’Anne d’Autriche devient le support d’un discours sur l’autorité monarchique et sur la défense du pouvoir royal. A partir d’un corpus constitué des représentations de la régente, et en les croisant avec des sources textuelles, cette thèse analyse la construction visuelle de ce discours, et ses effets sur l’évolution de l’image de la royauté en France après le règne de Louis XIII. La « majesté », qui constitue dans le corpus des textes, juridiques, politiques et symboliques, la qualité essentielle du souverain et la marque de son identité, doit ainsi être traduite visuellement dans une incarnation féminine, dans un pays où les lois fondamentales, notamment la loi salique, écartent pourtant les femmes du pouvoir. La richesse du corpus rassemblé pour cette thèse, près de cinq cent images, offre une source essentielle pour comprendre de quelle manière la reine a su dépasser cette contrainte et contribuer, en renouvelant ses modèles, à la représentation de l’autorité monarchique. Cette étude permet ainsi de reconsidérer le rapport des femmes au pouvoir. Pour analyser ces différentes questions, la thèse s’organise en quatre parties. La première partie s’attache à comprendre l’image de la reine régnante, en analysant dans un premier chapitre la définition juridique de la reine, pour montrer de quelle manière l’ordre juridique détermine l’ordre symbolique. On peut ainsi expliquer en quoi le mariage de la reine en 1615 et son introduction à la cour constitue une « naissance iconographique ». Le second chapitre explore les différents aspects de ce portrait de la reine en montrant qu’il relève à la fois de caractères propres et de réactions à la situation – politique et civile – de la reine. La deuxième partie soulève la question des moyens mis en œuvre pour opérer la transformation de cette image, qui permet à la reine d’apparaître en régente du royaume. Le troisième chapitre analyse plus particulièrement les étapes chronologiques de cette transformation, tandis que le quatrième chapitre étudie, sur un plan pratique, la « fabrication » de cette image. La troisième partie envisage ensuite le contenu des images, en dressant une analyse en trois temps de son iconographie. Le cinquième chapitre aborde ainsi le corps de la reine comme support des dimensions morales de son portrait. Le sixième chapitre approfondit cette question dans la perspective religieuse, en étudiant de quelle manière la régente parvient à produire l’image d’une reine « très chrétienne ». Le septième chapitre conclut cette analyse iconographique sur la dimension politique de l’image d’Anne d’Autriche. La quatrième et dernière partie est enfin l’occasion d’analyser le « fonctionnement » de ces images. Le huitième chapitre montre combien la situation des représentations de la reine dans les décors est déterminante pour leur interprétation, en envisageant les cas des résidences royales puis des intérieurs privés. Enfin, le neuvième chapitre propose une étude de la performance des images, en étendant l’analyse aux usages publics des représentations de la reine, dans les monuments ou au cours des cérémonies. / Anne of Austria offers an important part, yet neglected, in the the development of royal iconography in seventeenth century France. Devoided from management of power under the reign of her husband Louis XIII, she is however the subject of many representations. The number of her images increases when she accedes to the responsibilities of the government at the death of the king, in 1643, becoming regent in the name of her minor son, Louis XIV. Beyond its majority in 1651, she maintains herself at a prominent place, until the death of Mazarin in 1661. During these two decades, a deep political crisis in France culminates in the so-called Fronde. In this context, the image of Anne of Austria becomes the instrument of a visual narrative on monarchical authority and for the defense of the royal power. Crossing a large corpus of representations of the regent with textual sources, this thesis analyzes the visual construction of this narrative, and its effects on the evolution of the image of power in France after the reign of Louis XIII. In contemporary legal and symbolic literature, "majesty" is presented as he essential quality of the sovereign and the mark of his identity. It must then be visually translated in a female incarnation, despite the fundamental laws, in particular the Salic law, which however exclude women from power. The abundance of the images collected for this thesis, nearly five hundred items, offers an essential source to understand how the queen was able to overcome this constraint and contribute, by renewing its models, to the representation of the monarchical authority. This thesis allows us to reconsider the relationship between women and power. To analyze these different issues, the thesis is organized in four parts. The first part attempts to understand the image of the reigning queen, analyzing in a first chapter the legal definition of the queen, to show how the legal order determines the symbolic one. One can thus understand how the marriage of the queen in 1615 and her arrival at the court can be apprehended as an "iconographic birth". The second chapter explores the different features of this portrait of the queen, showing that it is at the same time a revelation of personal characteristics of the queen and a reaction to the queen's political and civil situation. The second part raises the question of the means implemented to operate the transformation of this image, which allows the queen to appear as regent of the kingdom. The third chapter analyzes in particular the chronological stages of this transformation, while the fourth chapter studies, from a practical point of view, the "fabrication" of this image. The third part then considers the content of the images, drawing up a three-step analysis of its iconography. The fifth chapter addresses the body of the queen as a support for the moral dimensions of her portrait. The sixth chapter deepens this question in the religious perspective, studying how the regent manages to produce the image of a queen "très chrétienne". The seventh chapter concludes this iconographic analysis by studying the political dimension of Anne of Austria's image. The fourth and last part gives finally an analysis of the way these images "operate". The eighth chapter shows how the situation of the queen's representations in decor is decisive for their interpretation, considering the cases of the royal residences and the private interiors. Finally, the ninth chapter proposes a study of the performance of images, extending the analysis to the public uses of representations of the queen, in monuments or during ceremonies.