We want to identify the factors of how to maintain a luxury fashion brand. To do this, we have to find what characterizes a real luxury brand. We want to go into depth and find the underlying and often invisible aspects within a luxury brand. The characteristics of a luxury brand are that the majority has their production in-house and provide high quality, made by an experienced and eccentric designer. The luxury brands have a distinct and clear image and identity. The brands are available in both stores and online shops and their offered products are in the high price sector. To maintain a luxury brand, the involvement and control of fabric, production and quality is essential. The designer must maintain the right appearance, image and identity in every step of the business. Moreover, a combination of different marketing channels is good to use, as it is a way to reach a large amount of people. If the luxury company decides to use social media, the engagement is vital. Regarding the distribution channels, a luxury brand should have an online shop and regular stores. Yet, it is important that the price reflect the products value. / Program: Magisterutbildning i Fashion Management

Purpose: The purpose of our thesis is to make an analysis and create an understanding for how the development for special collections, within the fashion retail segment, will look in the future and to see if/how special collections are connected to overconsumption.Methodology: In this thesis, we have relied on a qualitative research strategy for collecting and analyzing data. The research design applied resembles of case studies but is correctly defined as cross-sectional design. We have done semi-structured interviews with three practitioners and one expert. We have also done content analysis of the campaigns for the three current special collections we have investigated.Conclusions: We have come up with the conclusion that there is a future for special collections, but it needs to be a development from how they are worked out today. Some factors are more relevant than others for a possible success for the special collections. These factors are that the collection offers a high rate of trend awareness, that it enables to offer the consumer something extraordinary and that the collection is anchored within environmental issues. / Program: Magisterutbildning i Fashion Management

In this thesis we study the possibilities of designing an application to design a production line for bending of profile sheet. We discuss step by step the process of profile design, flower pattern, production line benches and the rollers, that will shape the metal sheet into the final form. We discuss the algorithms used to create different types of points placed in the contour of roller to improve the production of metal profile. As result of our work software was developed, which is able to fully support the whole process of production and it is used in practice.

Made available in DSpace on 2016-04-29T14:23:32Z (GMT). No. of bitstreams: 1 Angelica Lucia Kano.pdf: 2455879 bytes, checksum: 4ba2858b8a908aa7b7800f14ae1d52c2 (MD5) Previous issue date: 2014-09-25 / This master s thesis was developed to try to understand the transformations in the contemporary landscape of Virtual Learning Environments through comparative studies and specific readings. Some practical cases were brought in support of the theory, such as the development of the interface in light of the history of the creation and adaptation of Apple, in order to reach a new audience. The possible opening and closing of the LMS and design strategies found in Social Networking Success, following the development of the LSM s Blackboard Learn and its digital marketing Facebook Social Network. Converging the questions and assumptions found, there would be a professional with relevant skills to perform these new designs of Virtual Learning Environments in a contemporary overview of E-Learning? During the search process, the main theoretical frameworks were Manuel Castells, Pierre Lévy, Virgina Kastrup, G. Deleuze, F. Guattari, Elizabeth Adams, O'Reilly, J. Dron and T. Anderson. As a result, we sought to provide clues about the approach of the LMSs with the Social Networks, to try to understand the changes and bring a small (but significant) contribution to the contemporary panorama of E-Learning. Regarding the education agent to articulate and apply this new landscape imaginable to LMS, we propose the idea of a new professional, Educational Architect / Esta dissertação foi desenvolvida no intuito de buscar compreender as transformações no panorama contemporâneo dos Ambientes Virtuais de Aprendizagem, por meio de estudos comparativos e leituras específicas. Alguns casos práticos foram trazidos em apoio à teoria, como o desenvolvimento da Interface, à luz da história da criação e adaptação da Apple, no intuito de alcançar um novo público. A possível abertura e aproximação dos AVAs do design e estratégias encontradas nas Redes Sociais de sucesso, acompanhando o desenvolvimento do AVA da Blackboard Learn e seu marketing digital na Rede Social Facebook. Convergindo os questionamentos e suposições encontradas, existiria um profissional com competências pertinentes para realizar estes novos desenhos dos Ambientes Virtuais de Aprendizagem em um panorama contemporâneo da EAD? Durante o processo de pesquisa, os principais referenciais teóricos foram Manuel Castells, Pierre Lévy, Virgína Kastrup, G. Deleuze, F. Guattari, Elizabeth Almeida, O Reilly, J. Dron e T. Anderson. Como resultado, procurou-se apresentar pistas sobre a aproximação dos AVAs com as Redes Sociais, para procurar compreender as transformações e trazer uma pequena (mas significativa) contribuição ao panorama contemporâneo da EAD. Quanto ao agente educacional para articular e aplicar este imaginável novo panorama aos AVAs, propomos a ideia de um novo profissional, o Arquiteto Educacional

A investigação de requisitos de projeto é uma atividade essencial da prática do design, associada a configuração do problema de projeto. Contudo, a técnica para esta atividade é muitas vezes desafiadora para os designers que possuem uma orientação para a resolução de problemas ao invés da configuração dos mesmos. Identificar todos os requisitos durante o estágio inicial de um projeto, seria o cenário ideal de trabalho para um designer. É amplamente aceito que a natureza do processo de design ocorre através da co-evolução do problema-solução, o que indica a existência da redefinição de requisitos durante o curso de um projeto. Entretanto, requisitos constantemente redefinidos em um projeto podem ser prejudiciais tanto na perspectiva do designer quanto do seu cliente, pois afetam na gestão do projeto e desgastam relação entre os envolvidos. Com o objetivo de compreender melhor este fenômeno e as suas causas, esta pesquisa, portanto, investigou como os designers de comunicação visual lidam com os requisitos de projeto, e com as suas respectivas mudanças durante o curso de um processo O método utilizado foi baseado no protocolo de Haug (2015), que investigou o mesmo tema, mas com designers de produto. Nove entrevistas foram realizadas com diferentes designers, que tiveram áudio digitalmente gravado, e posteriormente foram transcritas e analisadas. Como resultado, foi constatada a aplicabilidade do protocolo de Haug (2015) em design de comunicação visual, a descoberta de relações entre as categorias de mudanças de requisitos, e o desenvolvimento de duas ferramentas para auxiliarem o designer a compreender o seu processo de trabalho, e como adotar uma estratégia adequada para desempenhar o seu processo de trabalho de acordo com o seu próprio perfil e o do seu cliente. / The investigation of project requirementes is an essencial task in design activity, also associated with problem setting. However this technique is often challenging for designers, wich are problem solving oriented instead of problem setting. The identification of all project requirements at the biginning of a project would be the ideal scenario for a designer. Nevertheless design activity is more like the evolution of problem-solution, pointing that project requirements are redefined during a design process. Requiremetns redefinitions during a design process, can be harmful for both designer and his client, because it affects their project managment and also their relationship. Aiming to better understand this phenomena and it’s causes, this research investigated how visual communication designers work performing the elicitation of project requirements and deal with requirement redefinition during their projects. The method used was based on Haug’s (2015) protocol, who investigated the same subject, but with product designers. Nine designers were interviewed with the audio digitally recorder, and afterwards all interviews were transcripted and analyzed. As a result, it was found that Haug’s (2015) protocol was applicable to visual communication design, a connection between the categorys of changing project requirements was drawn, and tools were developed to help designers decide for a process strategy between the different client ant their own profiles.

User Experience, UX, som till en början främst användes inom IT-världen och sägs härstamma från HCI (Human Computer Interaction) används idag i allt större utsträckning. Den här studien syftar till att förtydliga vad UX innebär, hur definieras det samt hur ser yrkesrollerna ut inom UX. Denna studie är en jämförelse mellan teori och praktik för att se om praktiken matchar litteraturen. Ytterligare fokus ligger på organisationers UX-mognad samt vad det innebär för någon som är yrkesverksam inom UX. Vad innebär det för designers när mognaden är låg respektive hög? I den här studien användes huvudsakligen metoderna litteraturstudie, semi-strukturerade intervjuer där deltagarna alla är aktiva utövare inom UX och en enkät om upplevd UX-mognad. UX kommer från användbarhet, då användbarhet anses för snävt för att täcka alla områden man jobbar med vid utvecklingen av en produkt eller tjänst. I teorin beskrivs UX till större del som ett användarfokuserat arbetssätt där användaren ses som experten istället för designern. Eftersom det idag finns en uppsjö av digitala produkter och tjänster har UX blivit viktigt för att kunna uppnå ökad konkurrenskraft på marknaden. Därav har allt fler organisationer börjat intressera sig för UX. För att veta vart en organisation befinner sig i UX-mognaden finns en mängd olika UXmognadsmodeller som kan vara användbara för att fastställa detta samt guida hur en organisation kan avancera. Om UX-mognaden är låg innebär det att ingen eller få jobbar med UX i en organisation. Är det få som jobbar med UX innebär det att de får ta på sig en väldigt bred roll, det blir ett väldigt stort ansvar. Är det verkligen rimligt att en person ska behöva bära det ansvaret? Är däremot UX-mognaden är hög så jobbar hela team eller hela organisationen med UX på något sätt. Det underlättar för designer och bidrar till att skapa ett bättre samarbete inom organisationen. Men om allt fler använder sig av UX och det blir en del av flertalet olika yrken, vad kommer då hända med rollen?

This thesis investigates how New Zealand fashion designers construct and communicate a unique and fluid identity. There are two main focuses of the research. The first is how New Zealand fashion designers build and maintain a unique brand identity in the New Zealand market. This includes an in-depth analysis of the public relations and communication strategies both emerging and established fashion designers use. The second focus is how New Zealand designers communicate their brand identity to export markets. This includes an examination of how the New Zealand national identity has an effect on the communication of their identity in international markets. This research is important as there is little scholarly research on the creative industries in New Zealand, and none on the New Zealand designer fashion industry. Therefore, this research study has been developed to advance literature in this area and provide a basis for further research. While this research study will focus on the New Zealand designer fashion industry, it is hoped that the research will be applicable to other creative industries in New Zealand. A key element of this research is to use the in-depth analysis of the designer fashion industry to provide recommendations on identity management for the New Zealand designer fashion industry and creative industries. Ultimately, this research provides these industries with a practical guide to create and communicate a unique identity in both domestic and export markets. A collective case study method is used to collate the data and is analysed through an interpretive framework. The New Zealand fashion designers that comprise the case studies are Annah Stretton, Robyn Brooks, Jo Robertson, and Cyb le Wiren. Key conclusions are that organisations in the creative industries need to put together an in-depth communications plan as early as possible in their business. This should focus on the creation and communication of a unique and fluid identity in order to differentiate themselves from their competitors and allow them to actively respond to their environment. Industry bodies and New Zealand Trade Enterprise play a key role in the development and export of creative organisations. These organisations need to develop better resources and support systems for the creative industries in order for them to reach their maximum potential.

<p>Sandvik har idag inget standardiserat utseende för applikationer på webben. Mycket av utseendet är idag hårdkodat och detta skapar problem när nya kunder vill ha applikationen. Detta examensarbete går ut på att göra en applikation mer dynamiskt så att det går att styra så mycket som möjligt från ett stylesheet. Plattformen är IBM Lotus Domino och utvecklingen sker i Domino Designer. Uppsatsen behandlar vad utvecklarna ser som förutsättningar och begränsningar med Domino Designer som webbutvecklingsverktyg och vilka delar av applikationen som ska standardiseras enligt kunderna. Av arbetet framgår även det att Domino Designer har bra stöd för utveckling av webbapplikationer.</p>

<p>Competition in the market of interior design during the last several years has drastically increased. The consumers of today are very conscious about what the market can offer and therefore they have high demands on the products. It is not only the function of the product that matters but also the design that makes a difference. Companies are becoming more aware of this and as a result they have to find a way to set themselves apart in order to attract customers. This realization has led designers and economists to cooperate in a different way than before. It is important that they are able to communicate with each other to reach a successful goal.</p><p>The purpose of this study is to deeply analyze a product development process within a large departement store and to look into how the different parts cooperate and communicate with each other. The exam has been done through a qualitative method. Three personal interviews where held within the departement store with the design director, purchaser staff and designer. The theories of communication, design process as well as the value theory aim to serve as tools in the analysis of the evaluation problem. The study focused on cooperation, communication and feedback in the product development process.</p><p>The conclusion we came to is that there is a conflict in communication between the purchasing staff and designers to company X because the communication has only been one way. The designer believes that communication is inadequate because it is not sufficiently structured and collaborative. The designer would like more feedback to be given. Having shared communication where the parties exchange ideas and being able to understand each other provides a more effective communication which can influence the collaboration between them in a positive way. Our conclusion is that feedback is a very important factor in communication and cooperation between the parties. Work in the product development process would be even more effective if they would make use of project planning.</p>

<p>Globaliseringen och den ökande konkurrensen har gjort att svenska företag inte kan konkurrera med pris på mogna marknader. Mjuka värden har tagit teknikens plats som strategisk konkurrensfaktor. Teknikorienterade företag har tvingats att skapa mjuka värden i sina produkter för att konkurrera mot de utländska lågprisaktörerna.</p><p>För att tekniska företag ska kunna skapa mjuka värden krävs att de har ett nära samarbete mellan konstruktören och designern. Detta samarbete är beroende av flera faktorer för att uppnå ett tillfredställande resultat.</p><p>Denna studie belyser de faktorer i samarbetet mellan designer och konstruktör som är viktiga för att skapa mervärde vid produktutvecklingen på en mättad marknad. Det empiriska materialet har samlats in från tre fallföretag och deras kunder. Empirin har studerats och analyserats mot teorier som författarna ansett viktiga för ämnet.</p><p>Undersökningen är både av kvantitativ och av kvalitativ karaktär. Under denna intressanta studie har det skett sex stycken djupintervjuer med designers och konstruktörer på de tre fallföretagen. För att mäta validiteten i analysen av det empiriska materialet från intervjuerna har företagets kunder fått svara på en enkät om deras köpbeslut.</p><p>Resultatet av undersökningen bekräftar vår teoretiska modell över hur ett effektivt samarbete leder till mervärde i produkten. Detta kan uppnås genom en simultan produktutveckling som präglas av en lärande kommunikation där kundbehovet är känt av båda parter. Processtyrning skall avse båda parter i deras arbete för att skapa ett maximalt mervärde.</p>