This paper discusses a theoretical costume design for the Musical "My Fair Lady" by Alan Jay Lerner and Frederick Loewe. The costume designer chose to set the production in 1912, stylizing choices clothing based on period silhouettes and social research. The paper includes character analysis, research, and a discussion of the design process.

The human body has been considered to be an active element and is a common starting point of fashion design processes. However, during these processes, understanding of the body and how it is used to design is often confined by the body’s standard spatial and structural characteristics. The research presented in this thesis aimed to examine body alternatives in fashion design processes in order to explore and open up for alternative body expressions for developing silhouettes for clothing.  Alternative aesthetic approaches and understandings of the body as a design tool were researched through experimental explorations, reflections, dialogue, and discussions. These created an embodied dialogue between thought and execution which was further developed and informed by the EDI (Embodied Design Ideation) framework for analysing and refining understandings of the interactions between the body, materials, and movement. These explorations and their outcomes bridge the theory of research for the art and research for art and design.   The explorations were based on the varied ways in which the body is perceived during body-material interactions, and were explored through movement, human-technology interfaces, and an exploratory workshop conducted at the Swedish School of Textiles. These explorations expanded our understanding of the body’s aesthetics in relation to material interactions and embodied experiences. The explorations questioned our preconceived conceptions of the body and facilitated a process of re-learning these through fashion design.  The results of the explorations were alternative methods and tools that use the body as a central variable in fashion design. The research culminated in the development of conceptions of the body in design processes that increase the design possibilities by introducing new concepts, tools, and methods. The body alternatives developed provide an openness in terms of design thinking and introduce conceptions of the body that can facilitate or improve design practice. The results have implications for design methods and contribute to methods in general and fashion design education programmes in terms of how they facilitate design processes.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

Esta tese propõe-se a refletir a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que se refere à (in)sustentabilidade. A pesquisa, qualitativa, desenvolve-se sob o enfoque epistemológico do materialismo históricodialético e se encontra estruturada de modo a representar o caminho percorrido. Em relação à perspectiva teórica, adota como ponto de partida o cenário da insustentabilidade, cujo percurso histórico e analítico permite entender sua estreita relação com o design de moda, e busca compreender, a partir de um olhar crítico e contextualizado a respeito da atividade, suas potencialidades em relação à sustentabilidade. Ao admitir a necessária transformação da prática em design de moda, mediante o exame a respeito dos paradigmas educacionais do ensino em design admite sua igualmente necessária alteração e, diante do cenário delineado a respeito do ensino superior em design de moda no Brasil, identifica, na predisposição dos cursos de bacharelado em incluir a questão da sustentabilidade em seus currículos, um campo pertinente a ser explorado. A partir da compreensão de que é preciso ir além de uma inclusão pro forma da questão nos currículos - e, portanto, da necessidade de explorar em profundidade a realidade do ensino superior em design de moda -, a pesquisa investiga, a partir de uma perspectiva empírica, a situação de três cursos de graduação no Brasil em relação à (in)sustentabilidade, buscando compreendê-los em sua pluralidade e singularidade: o bacharelado em Design de Moda da Universidade Anhembi Morumbi (SP), o bacharelado em Design de Moda da Universidade Estadual de Londrina (PR) e o bacharelado em Design - Moda da Universidade Federal do Ceará (CE). Complementarmente, investiga ainda os pontos de vista de professoras e pesquisadoras envolvidas com o objeto na Inglaterra, Finlândia e Dinamarca. As investigações revelam impressões não previstas ou de explicação insuficiente, se considerados unicamente os conteúdos abordados inicialmente no referencial teórico. Os olhares que constituem o cotidiano dos cursos no Brasil - institucional, docente e discente - desvelam questionamentos subjacentes à pergunta que norteia esta pesquisa e inferem que uma formação crítica e ativa no que diz respeito à (in) sustentabilidade se relaciona, para além dos conteúdos, à forma como estes são articulados. As perspectivas internacionais, não se atendo a conteúdos específicos, mas à forma como eles são articulados e a caminhos e desafios relacionados, repercutem e complementam as análises depreendidas em um contexto nacional. A pedagogia crítica freiriana emerge, então, como um espaço formidável e fecundo de diálogo, e o referencial teórico que se constrói a partir dela possibilita completar a reflexão a respeito do ensino superior em design de moda no Brasil na perspectiva de uma formação crítica e ativa no que tange à (in)sustentabilidade: a formação que permite ao aluno, por meio de sua prática, desafiar o status quo em seu campo de atuação; a formação na qual o design de moda é ensinado, aprendido e praticado como um possível ato de proposição transformadora. / This dissertation proposes to reflect on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability. The research is qualitative and developed under the historical-dialectical materialism epistemological approach, and is structured in such a way as to represent its development. Regarding a theoretical perspective, the research adopts, as a starting point, the unsustainability scenario, whose historical and analytical path allows us to understand its close relationship with fashion design. It seeks to understand, from a critical and contextualized look at fashion design activity, its potential in relation to sustainability. By admitting the necessary transformation on fashion design practice, in parallel, through examining the educational paradigms of design teaching, it admits their equally necessary transformation, and before the outlined scenario of fashion design higher education, in Brazil, it identifies in the predisposition of bachelor\'s degrees to include the issue of sustainability in their curricula, a relevant field to be explored. From the understanding that it is essential to go beyond a pro forma inclusion of the theme in the curricula, and therefore of the need to explore in depth the reality of fashion design higher education, the research investigates, from an empirical perspective, the situation of three undergraduate courses in Brazil regarding (un)sustainability, seeking to understand them in their plurality and singularity: Fashion Design bachelor\'s degree at Anhembi Morumbi University (SP), Fashion Design bachelor\'s degree at State University of Londrina (PR), and Design - Fashion bachelor\'s degree at Federal University of Ceará (CE). In addition, it also investigates the points of view from professors and researchers from England, Finland and Denmark who are involved with the object. The study reveals unexpected impressions, or of insufficient explanation if only the contents initially tackled in the theoretical framework are considered. The insights that make up the daily life of the courses in Brazil - institutional, teaching and student - reveal underlying questionings to the main question that guides this research, and infer that a critical and active formation regarding (un)sustainability relates to, beyond the contents, the way in which they are articulated. The international views, not focusing on specific contents, but on how these are articulated and their related paths and challenges, echo and complement the analysis realized in a national context. The freirian critical pedagogy then emerges as a formidable and fruitful field for dialogue, and the theoretical framework that builds up from it makes it possible to complete the reflection on fashion design higher education, in Brazil, from the perspective of a critical and active formation regarding (un)sustainability: the formation that allows the student to challenge the status quo, through his/her practice, in his/her field of action; where fashion design is taught, learned and practiced as a possible act of transforming proposition.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

[pt] Esta pesquisa trata das questões ergonômicas da relação da idosa com o vestuário do dia-a-dia. Com o envelhecimento da população mundial, os avanços da medicina, das novas tecnologias e a expressiva diminuição da taxa de natalidade em todo o mundo, torna-se necessário um estudo da relação dessa nova idosa com o vestuário, uma vez que sua vida profissional e social permanece por mais tempo. A visão que se tem hoje dos idosos é bem diferente da anterior, inclusive a percepção deles próprios, principalmente em relação ao comportamento. Entretanto, acredita-se que o vestuário pronto para vestir existente no mercado não contempla as transformações do corpo da mulher idosa. Com as transformações decorrentes da idade, essas mulheres acabam apresentando um corpo diferenciado dos padrões de vestuário existentes no mercado. Além disso, as idosas da faixa de 60 a 75 anos ainda participam de uma vida social ativa, o que requer roupas adequadas para elas se sentirem bem. Contudo, por essa demanda, ainda não se conhece, de fato, as necessidades reais do vestuário para tais consumidoras. O objetivo desta pesquisa é definir recomendações de design para a criação e confecção de vestuário para a nova idosa. Para isso, foram utilizadas técnicas como a de grupos de foco com as novas idosas, e a de entrevistas semiestruturadas com estilistas, cujas marcas foram citadas por essas mulheres. Constatou-se que realmente os vestuários disponíveis no mercado nem sempre atendem a elas, principalmente no que se refere aos modelos oferecidos, que não favorecem o novo corpo, e à modelagem, que não é desenvolvida para as mulheres dessa faixa etária. / [en] This research deals with the ergonomic issues of elderly woman regarding the daily clothes. With the aging of the world population, combined with medical advances, new technologies and significant decrease in the birth rate in the world, a study about the relationship of the new elderly woman with her clothes becomes necessary, since their professional and social lives remain longer. The way elderly people are seen today is quite different from before, including their own perception of themselves, particularly when it comes to behavior issues. However, it is believed that the ready-to-wear clothing on the market does not consider the body transformations of the elderly woman. With the changes due to age, these women end up presenting a differentiated body of existing clothing standards in the market. In addition, the elderly woman of 60 to 75 years old still participate in an active social life that requires appropriate clothing for them feel well. However, this demand and the real needs of clothing for these consumers are not yet known. The objective of this research is to define design recommendations for designing and making clothing for the new elderly. For this, techniques such as focus groups, with the new elderly, and semi-structured interviews with designers, whose brands were cited from these women, were conducted. It was noted that the clothing available on the market do not always satisfy them, especially with regard to the models offered that do not favor the new body changes and the modeling pattern that is not developed for a women of this age group.

Contemporary dance and modern ballet often focus on conveying emotions through patterns of movement which may be abstract, obvious, or anywhere in between, as supported by music, sound, or spoken words that set the mood. Scenography is typically sparse or confined to the available space, leaving the dancers as the main instrument of communication. This work explores choreography and costume design, with a focus on how garments can inform and direct movement, choreography, and performance, and in turn how movement may inform and contribute to the development of dynamic garments. Through a series of live experiments, ranging from self-instigated performance/video work in collaboration with choreographers and dancers to performances of garment interaction associated with everyday life, the performative, spatial, and interactive properties of garments are explored. The results of these live experiments relate to various aspects of choreography, scenography, and performance space, and offer wide-ranging creative potential. The work shows how designers and choreographers can collaborate on performance scenarios within the context of modern ballet and contemporary dance productions, thus creating conceptual garments that influence the design, choreography, and manipulation of conceptual garments. In relation to the act of dressing and undressing, previously unseen types of garment and ways of wearing and performing were found. New models of collaborative interaction are proposed. This work has demonstrated how the agency of garments can function as a manuscript in modern dance, and how performance itself redefines the notion of wearing and the concept of garments.

The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.

The impulse to beautifying clothing through acts of adornments or embellishments is an innate characteristic of humans. The added decorative details are used for identification and visual communication by the wearer and comprehension and visual appreciation by the viewer. This thesis investigates the recent attention to female modesty, labeled as the Modesty Movement--the community that has developed around the apparel segment of the Movement and the framework of the behavior encompassing the participants within Movement. Additionally, the thesis focuses on adornment through the lens of textile/surface design (embellishment) specific to the Greater Middle East and the northern provinces of India and its application to modest apparel. Surface design is defined as manipulation of a textile beyond the woven construction, in this context it is applied to women’s apparel that covers the head and chest. Through a series of experiments using light, sound and motion the thesis examines how the use of of adornment simultaneously conveys identity and conceals the wearer.

O presente trabalho investiga aspectos históricos acerca da estética e da funcionalidade da Ilustração de Moda. A partir da hipótese norteadora de que a Ilustração de Moda possui engrenagens cujos papéis se modificam através do tempo no processo de adaptação ao mercado, este trabalho analisa tal fenômeno mediante, predominantemente, a revisão e interpretação de obras de autores que se debruçaram sobre a historiografia da moda e da ilustração de moda ocidental, associados à análise de trabalhos no segmento em questão. A pesquisa é baseada em metodologia qualitativa de coleta de dados e interpretação de conteúdo artístico, referenciada pelo trabalho de Rui de Oliveira. São referenciados, também, teóricos de áreas correlatas como João Braga, Daniela Calanca, Paula Sibila, Ernest Gombrich, Mônica Moura e Dijon de Moraes, a fim de construir, de forma mais coesa, os assuntos abordados em textos que relacionam áreas como História da Moda, Comunicação Social, História da Arte, Design e Desenho de Moda. Sob essas diretrizes, é construída uma narrativa cronológica contextualizada, que serve como instrumento para analisar e compreender os fatores que constituem o mercado de moda em diferentes épocas e que adaptam e ressignificam uma das técnicas mais antigas de comunicação de moda, mantidas até os dias atuais / The present work investigates historical aspects of the aesthetics and functionality of the theoretical field of Fashion Illustration. Based on the guiding hypothesis that the Fashion Illustration has gears whose roles change over time in the process of adaptation to the market, this work analyzes this phenomenon, mainly by reviewing and interpreting the work of authors who have studied the historiography of fashion and Western fashion illustration, associated with the analysis of works in the segment of fashion illustration. The research is based on a qualitative methodology of data collection and interpretation of artistic content, referenced by the work of Rui de Oliveira. Theorists such as João Braga, Daniela Calanca, Paula Sibila, Ernest Gombrich, Mônica Moura, and Dijon de Moraes are referred in order to build the subjects discussed in texts of related areas as Fashion History, Social Communication, History of Art, Design and Fashion Design. Under these guidelines, a contextualized chronological narrative is constructed that serves as an instrument to analyze and understand the factors that constitute the fashion market in different times that adapt and re-signify one of the oldest techniques of fashion communication maintained until the present day