This work investigates the area of transformable and modular clothes through the technique of notching. The idea of transformable clothes is not new. Throughout history garments have been tied, wrapped or pinned together. Transformable clothes are often seen as a sustainable option because it challenges the wearer and creates a bond making the garment more valuable. This work seeks to present a new way of draping modular clothes by pinning notching strips onto fabric, transforming it into shapes. Resulting in a collection of pieces that can be combined in many different ways, creating a large collection using a small amount of materials.

Appreciation of the natural light, air, and scenery outside the built interior environment spurs the architect's desire to "bring the outside in". (Lately, floor-to-ceiling glazing is the most popular way of doing this.) Appreciation of what can be found "in the wall" also inspires the architect. Neither inside nor outside, being "in the wall" offers unique sensory experiences. Historically, the thick masonry walls of public buildings provided spaces (such as the arched vestibule of a library) within the walls' openings where people could gather to talk or wait out the rain. Another example of space within walls is the window seat, which is the architect's response to many peoples' desire to curl up inside a window to read a book or to watch what's going on outside. Modern materials and technologies have allowed us to build buildings taller and lighter than ever before but they also have led us to cease creating those special spaces, neither inside nor outside, that protect people from the elements without entirely cutting them off from them. It is this third space, neither inside nor outside, that I seek to reclaim in this thesis project. I hope to return to people space of fresh air, indirect, natural light, sense of protection, and openness; a place where stories are traded, secrets are whispered, and stars are wished on. With this project, I seek to develop a third space. / Master of Architecture

The field I’m working in is “design through construction”. Construction as a field in fashion design when creating has expanded and there are many views upon how one can work whit-in this field. I’m working with a cut and then bending or displacing it through placing it on the body so it creates volume which starts from its vertex. One could say that it works like an inverted dart. This way to work has a potential to create volume that stands out from the body without using standard ways e.g. like adding a new pattern piece or build a crinoline. It might answer to the question: How can one create shape or arrange shape without adding anchor points? Therefor I explore the relation between body and shape through inverted dart. I’ve been executing experiments through a trial and error method diverged in three steps when in the physi- cal part examine my aim in tests based on the body pressing a cut apart which gives an effect in the vertex of the cut. Through my research I’ve have come to a conclusion that the body in itself can transform garment trough an inverted dart by stepping into it. The relation between the body and material through the inverted dart has qualities were body can arrange dress and define it trough folding fabric and body can through the inverted dart make room for itself. This idea and development is relating to the basics when make dress, body and material and how we can work whit these opponents. Instead of thinking about new variables like new technical tools, e.g. the laser cutter when pushing boundaries one can also take new turns with basics. In this work the body defines dress through the inverted dart (an interaction between body and dress) and create new ways of handling fabric and shape. This perspective on design and art can also been used when working in other fields when distort basic prin- ciples to create new expression. As an example there might be possibilities to develop basics in architecture by studying society and therefore understand fundamental values in this field and, how you by change these variables can develop design.

Our everyday life is becoming more active and the activities we perform influence the way we dress. Due to an increase in activities undertaken in an urban environment, demands are changing and the need for active wear that meets the new demands follow suit. The four characters represented in the research can be seen as a reflection of the functional features needed, including base layer, mid layer/insulation and shell.Despite the increase in activities, most of our clothes are still constructed on static dummies or drafted on a table in 2D and the main developments within the active sportswear field is driven by material innovation. By creating garments on a body in movement, my aim is to develop new functions and expression in active sportswear through construction.Construction methods in active sportswear are examined and understood through observations and reconstructions and constitute the foundation of a study of movement for a design recovery.The movement and features required for leading an active urban life sets the direction of the development of new func- tional garments. A series of trial and error sessions and draping fabric on a live model in movement created the prototypes used in functionality tests to establish their feasibility. The functionality of the fabric and the form needed in urban lifestyle is explored in terms of relationship to a reduced, intuitive construction to challenge the norm of aesthetics in active sportswear. Meeting the demands of the conscious urban inhabitants regarding sustainability and style challenges this further. / Program: Modedesignutbildningen

This study is concerned with the development of a method for creating shapes and form in clothing with minimum exertion on the cloth, using simple construction techniques. It is an exploration of an approach to producing clothing in a less familiar manner to the usual way of working which involves, almost always, drafting or flat-pattern making. With the expression of the movement of the textile around the body as the main aim, the ‘push/pull’ principle is employed to direct its flow in both a symmetric and asymmetric fashion. It is a principle inspired by Madame Gres, the French designer of the 1930s to 1980s, famous for her neo-classic inspired gowns. The textile, usually a rectangle, is manipulated without cutting into it but by pushing and pulling first, through the upper limbs of the body, and then ‘worked’ around the rest of the body, using draping and pleating to create shapes which are spontaneous, elaborate and not pre-determined. Furthermore, the approach explores the aesthetic potential of draping and combining the Filter 80 PPI, an industrial textile used for filtering, with conventional clothing materials, linen and/or cotton in this case. The parallels and constasts of this mix are noted, together with the distinct expressions, which nonetheless both display a simple approach in construction, minimal manipulation of the textile, the use of the upper limbs as natural obstacles, and the ‘no-cut’ principle of the rectangular piece of cloth. With free form construction and reflection, one discovers expressions possible only through the use of an experimental approach in working. / Program: Master Programme in Fashion and Textile Design

Staring to explore the fashionable biker jacket from the fifties lead to the discover that it hasn’t changed much since its origin. The stereotyped biker jacket with the genuine black leather and raw details is an impact model and thought the jacket no longer is worn while riding a bike is it still presenting an image of a rebellious life.The aim of this work is to explore our traditional view of the biker jacket through material and shape. Discovering that the bikers riding position has big similarities with a standing cow gave background to the material used in the classical jackets, the cow. A living animal, a material that once lived. To use the cows and the biker’s upper body as a model, recreating its shape into biker jacket’s to develop the shape of the biker jacket further. By experimenting with untraditional non-textile materials instead of using leather hopefully develop the traditional view of a jacket and bring alternative material and construction forward. Conclusion of the work is that when the materials with strong associations are mixed with the biker shape the materials take over and the definition of the biker jacket becomes more complex. New questions that has arise could be the use of other technical materials, what happens when giving the jacket other functions, is it still a biker jacket then. / Program: Modedesignutbildningen

This work aims to explore the possibilities in re-design by using secondhand party-dresses as the main material to construct new garments with a focus on street wear silhouettes. Deconstruction is commonly used when working with secondhand and will also be used in this work, as well as draping. The goal is to find new expressions when working with re-design and to only focus on one type of garment (the dress) and use streetwear as a tool to build silhouettes that rely on the typical garments used in street wear. The idea is to explore what these two styles and shapes (evening wear versus street wear) can bring forward to the re-design field. This work will find a new style and silhouettes from these two worlds (unfashionable dresses and streetwear)with the help of experiments by deconstructing and draping the dresses and treating them as ”raw-material ”to make clothes. As it is now, re-design is heavily looked upon as patchwork, often in smaller pieces and the clothes used as materials are often bundled into one category- something that is a disadvantage to the future of re-design. This work shows the results of focusing on one garment as a base to re-design. It lets the designer come closer to understand how to work with the garment in the progress of making new clothing. Also to highlight the transformation a rarely used (because of its exclusive use to special occasions) an evening dress (often uncomfortable, inappropriate for everyday wear) can go to become a more used and functional garment by making use of street wear aesthetics (looser fit, everyday-appropriated wear).The work shows both wearable examples and more exaggerated shapes, to show that this method can be adapted to be used both commercially and for showpieces. Approximately 55 were purchased to have a catalog to chose from. After gathering pictures of street wear from different medias, the garments were picked out (such as hoodies, t-shirts) and also pin pointing details (buttons, zippers etc) and this set the frame for what variables were used when starting to create the new garments. Each garment was made out of 1-4 dresses. The point was not to make street garments, but to find what will become of these dresses after going through the process of street-wear silhouettes and details to become more updated and wearable clothes. In the end, it turned out to be a fruitful clash of silhouettes and materials suited for both men and female collections. The variations in shape and colors set a tone of its own. Instead of letting that secondhand dress hang in a vintage store waiting for some compassion or an 80’s themed party just to be thrown back into a second-hand store the next day, and even for the future special occasion dresses, worn once then never again, this method can be applied to transform and bring them back to usage. This method can expand the life of these dresses, limits only to the wear of the fabric which could be well over 100 years more of use.

Orientador: Ivan De Domenico Valarelli / Banca: Luis Carlos Pachoarelli / Banca: Suzana Barreto Martins / Resumo: A presente pesquisa verifica a eficiência da modelagem tridimensional, moulage, como instrumento de otimização do processo de desenvolvimento do produto de moda/vestuário. Para tanto, enfoca as etapas de criação e materialização nas quais a referida técnica encontra-se inserida, onde constata a dicotomia entre as áreas de criação e modelagem. Aborda as qualidades técnicas, construtivas, ergonômicas e estéticas envolvidas no projeto da modelagem do produto, enfatizando os aspectos de conforto, caimento e inovação formal. De abordagem qualitativa, tem seus dados coletados por meio de observações sistemáticas, no âmbito acadêmico, numa variedade de situações-problemas, em momentos diversos, com variadas fontes de informação - cenários criados para reproduzir, considerando as devidas proporções e especificidades - situações industriais análogas. Estabelece as seguintes linhas guias de observação: criar e materializar; materializar a criação do outro; a criação constitui-se na própria materialização. Indicadores previstos na estruturação da pesquisa - adequação dimensional, vestibilidade, inovação formal, tempo, retrabalho, consumo de matéria-prima, soluções de montagem - conduzem aos resultados, numa comparação dos dados obtidos quando a técnica da modelagem tridimensional encontra-se ou não inserida no processo de desenvolvimento do produto de moda. É constatada a eficiência da técnica no processo. / Abstract: The purpose of this research is to verify the efficiency of the three-dimensional modeling, draping, as a way to achieve a better development of the fashion/clothing products. For that, it focus the creation and the materialization steps, in which the draping technique is found, where is found a dichotomy between the creation and the modeling areas. It also approaches the technical, constructive, ergonomic and esthetic qualities involved on the modeling project, emphasizing the comfort, adjustment and innovation of the shape. This qualitative research got the data collection by methodological academic observation, with a variety of problem situations, in different moments with distinctive information sources - created reproduction scenes, considering the propositions and specialties - such as industrial situations. It establishes the following observation guide: to create and materialize; to materialize the other’s creation; the creation constitutes in the materialization itself. The indicators used in this research are the dimensional fitness, adjustment, innovation of the shape, time, rework, material raw, assembling solutions. They conduct to the findings, comparing obtained data when the three-dimensional modeling is found in development of the fashion/clothing products and it proves the efficiency of the technique in the process. / Mestre

The specific area of interest in this work is to explore decon- struction of printed motifs in relation to shape as a method of construction. One of the main objectives of this explo- ration is to change the traditional ways in which designers work with print and material in relation to form. This implies to question the structures currently present within the fashion industry as well as preconceived ideas of existing techniques, their limitations and visual appearances. What is presented in this work is how print and material can be brought forward and make out the foundation of the process. Please note that this does not imply that form comes secondary. Instead the idea is to present a method of working where these different factors have a vital connection and where form is a product of the construction and placement of print motifs. Resulting in form which is dependent on print and in turn, print which is dependent on form.

The interest of this work is found in the potential ways of constructinggarments and how form can be explored within that field.This work explores how one can use draping as a construction methodapplied on garments to change the traditional shape and to create new formand silhouettes. The possibility to create form by using two depending components is thefoundation and aim of this collection. It will embrace different qualities inmaterials and challenge traditional garments and the view on how we usuallyand suppose to wear these garments. Garments are dependent mostly on the body of the wearer in first hand, onecould say that this work challenges that order when the two pieces aredeveloped being dependent on each other in first hand. Through relationship of fastening and uniting materials I will explore thepossibilities within form and volume and push the expression within thebasic forms within a traditional wardrobe. My aim is to further investigate the possibilities within womens wear bylooking at material, color and silhouette through a deconstructed way ofdraping. A collection of seven outfits is the result of this work. The outfits willchallenge the field of construction and how we traditionally make garments.The shapes and expression will be based on the interaction between garmentsand the materials.