This thesis describes a practice-based research project that explores the relationship between textile and fashion systems through whole-garment weaving. In the current state of the textile and fashion industry, these are mostly based on two separate systems where the textile industry merely functions as an invisible backbone of the fashion industry. The structure of the weave, the jacquard patterns, the yarns and colours have the ability to link the textile to the garment, materialising the interdependency of the two. Hybrid forms of dressing is based on a series of experiments related to the components of jacquard weaving, local yarns and weaving constructions in a layering system, to gain an understanding of their relationship in the process of garment creation. This project aims to contribute to creating an equal balance between textile and fashion systems, working in a simultaneous design approach and opening up for discussion on this matter.

The purposes of this study were to assess student attitudes toward CAD technology and use, to determine the efficient use of computer-aided design (CAD) systems in the design curriculum, and to investigate the current use of CAD at other colleges and universities in the United States with apparel design programs. A questionnaire was administered to students enrolled in a computer-aided design course to determine previous computer experience, previous design courses taken, and attitudes toward the use of computers. Another questionnaire that focused on the student’s attitudes toward the two CAD systems used in the class was administered after completion of the final assignment. The students in the apparel design course had positive attitudes toward computers and the usage of CAD as a tool for design applications. The students preferred to use the Lectra system and felt that it was the most efficient CAD system to use for assignments in the apparel design course. However, further study needs to be conducted concerning the efficient use of CAD in apparel design courses. A questionnaire was mailed to faculty at universities with apparel design programs to determine how CAD was being used in the curriculum, the type(s) of CAD system(s) being used, and the future plans for CAD in the curriculum. Frequency and percentage distributions were used to analyze the data. The data collected from educators teaching CAD at other colleges and universities in the United States indicate that CAD is being used in the classroom to teach flat pattern techniques (18%), pattern grading (16%), and marker making (16%). Thirty-three apparel design programs were using IBM computers to teach CAD with 14 programs using MicroDesign equipment to teach CAD. The programs that were using IBM computers or compatibles were using AutoCAD software (39%). The results also showed a significant increase in the number of programs with CAD in the curriculum from 21 between 1982 and 1989 to 38 between 1990 and 1993. This indicated that apparel design programs realized the importance of integrating CAD into the design curriculum to better prepare students for employment in the apparel industry. / Master of Science

Investigated in this research was the effect of different shoulder positions on different sleeve/bodice structures. Since a sleeve/bodice may have numerous variations and design details incorporated into the structure, this research concentrated on the set-in sleeve, kimono sleeve, raglan sleeve, and kimono sleeve with gusset. The variables used to determine the reaction of the different structures to different shoulder positions were garment slippage away from the wrist, the waist, the center back/waistline positions, and the angle formed by the center back/waistline intersection. A Factorial ANOVA was used to test for significant differences between the sleeve/bodice structures and shoulder positions. A Tukey's pairwise comparison was used to determined the difference between the slippage at each shoulder position and each sleeve/bodice structure compared with each of the others. Regression equations were fit as linear, quadratic and their interactions with each sleeve/bodice structure. Based on the theoretical framework, the amount and location of the slippage found in the statistical analyses was not necessarily those predicted. From the analyses, it was determined that when comparing the slippage at the wrist, waist, center back/waistline location and the center/back angle as a whole, general trends which occurred in the data were that the set-in sleeve consistently exhibited the greatest amount of slippage and the kimono sleeve exhibited the least. From the plots of the regression coefficients, the amount of slippage illustrated for the raglan sleeve was of similar slope to that of the set-in sleeve, whereas the kimono sleeve with gusset was more closely related to the slippage of the kimono sleeve. The results of this study provide information that other clothing designers may find useful when developing sleeve/bodice structures based on specific shoulder positions. From known shoulder positions, a designer may determine which sleeve/bodice structure would exhibit the least or most garment slippage, or be able to predict the amount of garment slippage for a specific structure. / Ph. D.

[pt] Considerando o aumento da prevalência dos discursos e das disciplinas, sobre sustentabilidade nas instituições de ensino do Campo do Design de Moda, objetiva-se investigar como o Campo compreende a noção de sustentabilidade. Para tal, a fim de aprendermos a totalidade social, empregamos as teorias do Campo e da economia dos bens simbólicos, de Pierre Bourdieu, e a teoria social de Marx, a qual acessamos, sobretudo, por intermédio de pesquisadores marxistas. Esse estudo verificou que o discurso e a prática do design de moda sustentável tendem a reproduzir a ideologia da sustentabilidade corporativa. Essa camufla os interesses de classe, apoiando-se na razoabilidade da defesa ambiental, ao mesmo tempo que emprega uma retórica supraclassista. / [en] Considering the increase in the prevalence ofthe discourses and courses about sustainability in the institutions that teach Fashion Design, we aim to investigate how the field understands the sustainability notion. For such, as a meansto learn the social totality, we apply Bourdieu s Field theory and theory of the economy of symbolic goods and Marx s social theory, which we have accessed mainly through Marxist researchers. This study found that the discourse and practice of sustainable fashion design tend to reproduce the ideology of corporate sustainability. That camouflages class interests, relying on the reasonableness of environmental defense, while employing a supraclassist rhetoric.

Submitted in fulfilment of the requirements for the degree of Masters of Technology: Fashion at the Durban University of Technology, 2013. / Due to the high levels of unemployment in Durban South Africa, the New Venture Creation (NVC) groups I coached/mentored were seeking to become self-employed, to find social and economic independence. I have observed that many of the people in my NVC groups seemed to lack, self-confidence and self-esteem in the start-up process of their business. These lacunae pose a problem, as they are all necessary if one wants to create a viable, sustainable and profitable business. The reason that I coach these emerging entrepreneurs is to assist in building their self-confidence and self-esteem so that they have the courage to “go for it”. The problem I have sought to address in this research is: How do I influence emerging entrepreneurs to become sufficiently self-confident to be able to design, establish and sustain their own employment and employment for others? I work on the assumption that most people have the capacity to be self-employed. I have used autoethnography with action research to describe the interventions that I initiated, report on their implementation, as well as the evolution of new perceptions and understandings that developed as a result. By using my own and the participants visual data with still images and video with visual narrative I demonstrate the evidence of my living theory and self-study to influence creative economic independence in others and reflect critically on what has been done and achieved, and critically assess the way forward. I verbally explained the ethical issue of obtaining consent to use names and photographs in my study to the participants. My explanation was followed by obtaining written consent from the five key participants and others in the pictorial data.

M.Tech. (Fashion) / This study is an investigation of Japanese designers, Issey Miyake, Yohji Yamamoto and Rei Kawakubo, who are widely regarded as leading innovators in the fashion world (Kawamura 2004:36; Niessen 2003:216; Sudilc 1990:84). Collectively they have been described as avant-garde designers (Sudjic 1990:13; Breward and Gilbert 2006:58), creators of the Japanese fashion revolution in Paris (Kawamura 2005:96), and exponents of anti-fashion design (Kondo 1997:118). These designers defied the prevailing fashion norms and produced clothes referred to as "wearable art" through the use of advanced technology (Leventon 2005:25). While there are volumes of articles crediting them as revolutionary designers over the years, there is limited literature material that clearly articulates what these designers did differently. Various scholars have tried to uncover what it was that Japanese designers brought to international fashion (Koren 1984; Koda 1987; Coleridge 1989; Evans and Thornton 1989), yet none have been conclusive enough to provide the "recipe for success" that Miyake, Kawakubo and Yamamoto have achieved…

Atualmente, o excesso de produção, consumo e descarte de vestuário de moda - e o ritmo acelerado e contínuo como isso acontece - resulta em um impacto socioambiental de proporções consideráveis. Neste contexto, o presente trabalho buscou discutir possíveis requisitos projetuais para o design de vestuário de moda orientados à redução de seu impacto socioambiental, com ênfase no prolongamento da vida útil do vestuário de moda e consequentemente na alteração da dinâmica do ciclo de vida desses produtos. Para tanto, foi necessário compreender e estudar a relação entre o design e a sustentabilidade, identificar os impactos socioambientais do vestuário de moda, elencar os aspectos projetáveis do vestuário de moda que influenciam o consumidor em relação ao produto, e assimilar a opinião do consumidor a respeito da relação entre o vestuário de moda e a sustentabilidade. A partir de uma revisão de literatura e de uma pesquisa exploratória, foi possível inferir que o prolongamento da vida útil do vestuário de moda, ao alterar a dinâmica do ciclo de vida desses produtos, desacelerar o ritmo de sua produção, seu consumo e seu descarte, configurando-se como uma alternativa para a redução de seu impacto socioambiental. / Currently, the excess of production, consumption and disposal of fashion clothing - and the accelerated and continuous rhythm as it happens - results in a social and environmental impact of considerable proportions. This work aimed to discuss possible projectual requirements for the fashion clothing design geared to reducing its social and environmental impact, with emphasis on the lifetime extension of fashion clothing and consequently on change of life cycle dynamics of these products. In order to reach this aim, it was necessary to understand and to study the relation between design and sustainability, to identify the social and environmental impacts of fashion clothing, to list the projectable aspects of fashion clothing that influence the consumer respecting the product, and to assimilate the consumer opinion about fashion clothing and sustainability. From a literature review and an exploratory research, it was possible to infer that the lifetime extension of fashion clothing, in changing the lifecycle dynamics of these products, decelerates the rhythm of its production, its consumption and its disposal, setting up as an alternative for reducing its social and environmental impact.

Esta pesquisa objetivou identificar padrões formais, plásticos, sintáticos, semânticos e simbólicos eventualmente mais característicos de estamparias têxteis voltadas ao vestuário de usuárias das classes sociais média e alta. O estudo, de natureza mista, quantitativa e qualitativa, apresentou caráter essencialmente fenomenológico, buscando percepções de usuárias e especialistas (designers), ao comparar padronagens de estamparias gráficas utilizadas por mulheres das classes sociais média e alta. Do ponto metodológico, a pesquisa foi dividida em três estágios principais. Em um primeiro estágio foram selecionadas quatrocentas amostras de imagens de estampas voltadas para usuárias das classes média e alta, sendo duzentas amostras de cada classe. Estes dois grupos de duzentas amostras foram, então, reduzidos, aleatoriamente, a dois grupos de vinte amostras. Cada amostra, a partir deste ponto, foi minuciosamente isolada e abstraída do desenho da roupa, da pessoa que a estivesse trajando e de seu entorno, evitando-se variáveis contaminantes. No segundo estágio, as vinte amostras, já isoladas e abstraídas, foram individualmente apresentadas a especialistas (designers), com objetivo de estimulá-los a verbalizar categorias conceituais que pudessem ser utilizadas como norteadoras de um diferencial semântico a ser elaborado no terceiro estágio. Por fim, no terceiro estágio, sete amostras de cada um dos dois grupos foram reunidas, aleatoriamente, e apresentadas a dois grupos de respondentes (especialistas e usuárias) de maneira a atribuírem valores numéricos de 1 a 5 quanto a dez parâmetros (bipolarizados) induzidos a partir das análises obtidas dos dados oferecidos por especialistas no segundo estágio. Participaram do terceiro e último estágio 55 respondentes, sendo seis designers e 49 usuárias. Os resultados deste estudo foram, então, estratificados em vários quadros, entre os quais: amostras apenas da classe média, com respostas de especialistas e de usuárias; amostras apenas da classe alta, com respostas de especialistas e de usuárias; amostras da classe média e da classe alta, com respostas apenas de especialistas; amostras da classe média e da classe alta, com respostas apenas de usuárias; e amostras da classe média e da classe alta, com respostas da média de especialistas e usuárias. O cruzamento geral destas várias estratificações revelou singular e pouco antecipada convergência das respostas de especialistas e de usuárias sobre padrões de estampas têxteis atribuídos às classes média e alta. Notou-se, por exemplo, coincidências acentuadas nas respostas nas categorias simbólico/literal, cromático/acromático, sofisticado/rústico, linear/aleatório, clássico/moderno e geométrico/orgânico, entre amostras de padronagens têxteis voltadas às usuárias das classes média e alta. Divergências discretas foram, entretanto, observadas nas categorias equilibrado/desequilibrado, simetria/assimetria, comum/incomum e figurativo/abstrato. Este estudo conclui que variações qualitativas no vestuário das classes média e alta estariam, portanto, localizadas menos no âmbito das características formais, semânticas, simbólicas e estéticas das padronagens têxteis, residindo, muito possivelmente, sobretudo, na qualidade da impressão, acabamento, coloração, fiação, tecelagem, costura e em minúcias de seus desenhos apenas perceptíveis pela proximidade física e tátil dos referidos tecidos e peças de vestuário / This research aimed to identify formal, syntactic, esthetic, semantic, and symbolic patterns possibly more closely associated with textile designs geared to the clothing of female middle and upper class users. The study, of a mixed nature, combined both the quantitative and qualitative approaches. It was of an essentially phenomenological character, searching for the perceptions of both users and design specialists, as they compared graphic design patterns utilized in the clothing of middle and upper class women. From a methodological standpoint, the study was divided into three main stages. In the first stage, 400 samples of photographs of textile design geared to female middle and upper class users, 200 corresponding to each group, were randomly selected from a variety of sources. Out of these two groups, another selection was then randomly conducted as well, narrowing both groups down to 20 samples each. Each textile sample, at this point, was thoroughly isolated and taken from the actual design of the clothing, from the person who might be wearing it and from its surroundings, therefore avoiding contaminant variables. In the second stage, those 20 samples, already isolated and taken out of their surroundings, were individually shown to textile and fashion design specialists, aiming to stimulate them to verbalize conceptual categories that could be utilized to guide the elaboration of a semantic differential in the third stage. Finally, in the third stage, seven samples from each of these two groups were randomly ordered and displayed to two groups of participants (design specialists and users). They were asked to grade them with numeric values from 1 through 5 regarding ten parameters (bipolarized) which were previously developed based on data provided by design specialists during the second stage. In this final stage, 55 respondents took part, six of which were design specialists and 49 of which were users. The results of this research were then stratified and displayed into various tables and charts, amongst which were: exclusively middle-class samples, featuring answers of both design specialists and users; exclusively upper-class samples, featuring answers of both design specialists and users; samples of both middle and upper class, featuring answers exclusively of design specialists; samples of both middle and upper class, featuring answers exclusively of users; and, finally, samples of both middle and upper class, featuring combined answers of design specialists and users. Cross-referencing of the various data stratifications revealed a unique and little-anticipated convergence of answers from both design specialists and users regarding textile graphic patterns linked to either middle or upper class clothing. Significant, coinciding patterns of responses were noted in conceptual categories such as symbolic/literal, chromatic/achromatic, sophisticated/rustic, linear/random, classic/contemporary and geometric/organic, among samples of graphic textile patterns associated with middle- and upper-class female users. Discrete divergences were identified, however, in categories such as balanced/unbalanced, symmetrical/asymmetrical, plain/rare and figurative/abstract. This study, then, reached the conclusion that qualitative variations in graphic design patterns in clothing of middle- and upper-class female users might, therefore, occur less in the realm of the studied formal, semantic, symbolic and aesthetic graphic textile patterns, as they seem to most likely reside, above all, in the printing quality, finishing, coloring, threading, weaving, sewing and in minute drawing details of the actual graphic textile patterns which can only be ascertained and appreciated by means of physical and tactile proximity to these graphic patterns and the actual clothing itself

Submitted by Maicon Juliano Schmidt (maicons) on 2015-03-24T12:18:05Z No. of bitstreams: 1 Keila Marina Nicchelle.pdf: 1402786 bytes, checksum: 83dbd0f9e0c83cd70419fc6b48b3ff36 (MD5) / Made available in DSpace on 2015-03-24T12:18:05Z (GMT). No. of bitstreams: 1 Keila Marina Nicchelle.pdf: 1402786 bytes, checksum: 83dbd0f9e0c83cd70419fc6b48b3ff36 (MD5) Previous issue date: 2011-04-01 / Nenhuma / A presente pesquisa considera que a moda passa a ser pensada, no contexto contemporâneo, de forma sistêmica e complexa, segundo os princípios teórico-metodológicos do design. Para atingir essa dimensão, a moda e o design se aproximam cada vez mais, quer pela prática, quer pela teoria, constituindo-se num universo de cultura de projeto. Logo, o design de moda, como cultura de projeto, pode ser questionado segundo os pressupostos do design estratégico. Dessa forma, esta pesquisa tem como objetivo discutir o design de moda como cultura de projeto com base nos conceitos que definem o design estratégico para a configuração de uma metodologia de projeto estratégico aplicada ao design de moda no contexto industrial. Justifica-se a abordagem proposta tendo em vista que a configuração de uma metodologia de projeto estratégico aplicada ao design de moda torna-se fundamental como plataforma de conhecimento para a prática projetual na indústria da moda como estratégia de inovação. Nesse sentido, a metodologia adotada para a realização da pesquisa consiste num estudo de caso, desenvolvido por meio de entrevistas com gestores e designers de três indústrias no segmento da moda localizadas na sede do município de Erechim/RS. A análise dos dados obtidos no estudo de caso e o cruzamento dessas informações com a fundamentação teórica possibilitaram o entendimento do processo de design de moda no contexto industrial. Da mesma maneira, a relação estabelecida entre os métodos de projeto desenvolvidos no design de moda e no design estratégico possibilitou a identificação de princípios teórico-metodológicos complementares ao processo de design de moda, sobretudo considerando os limites e contribuições do design estratégico para o design de moda. Por sua vez, o estudo realizado permitiu responder à problematização desta pesquisa, ou seja, o que define o design de moda no contexto industrial e qual é a contribuição do design estratégico para o design de moda. Ao final, sugere-se uma metodologia de projeto estratégico aplicado ao design de moda, atingindo, assim, os objetivos propostos nesta pesquisa. / This investigation shows that fashion is becoming to be thought, in the contemporaneous context, in a complex and systemic way, according to the theoretical-methodological principles of design. To reach this dimension, fashion and design more and more approach to each other, both in practice and in theory, constituting a universe of culture of project. Thus, fashion design, as culture of project, may be questioned according to the conjecture of strategic design. This investigation aims at discussing fashion design as a culture of project, based on the concepts which define strategic design for the configuration of a methodology of strategic project applied to fashion design in an industrial context. This approach is justified due to the fact that the construction of a methodology of strategic project applied to fashion design is fundamental as a knowledge platform for project practice in fashion as innovation strategy. In this sense, the adopted methodology for the performance of this investigation consists of a case study, developed by means of interviews with managers and designers of three factories in the field of fashion located in the city of Erechim/RS. The analysis of data obtained through the case study and the crossing of this information with theoretical basis made possible the understanding of the process of fashion design in an industrial context. In the same manner, the relation established among the methods of the project developed in fashion design and in strategic design made possible the identification of theoretical-methodological principles complementary to fashion design process, mainly when considering the limits and contributions of strategic design for fashion design. On its turn, the study allowed to answer the problem of the investigation, that is, what defines fashion design in an industrial context and what the contribution of strategic design for fashion design is. Finally, a methodology of strategic project applied to fashion design is suggested, this way, fulfilling the objectives here proposed.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-08-01T13:55:12Z No. of bitstreams: 1 Mariana Dourado Castro_.pdf: 3163818 bytes, checksum: 2ff0f1fa27452a774199fd07ab71e354 (MD5) / Made available in DSpace on 2017-08-01T13:55:13Z (GMT). No. of bitstreams: 1 Mariana Dourado Castro_.pdf: 3163818 bytes, checksum: 2ff0f1fa27452a774199fd07ab71e354 (MD5) Previous issue date: 2017-03-14 / Nenhuma / Esta dissertação apresenta uma pesquisa a cerca da negociação no design de moda sobmedida, tendo como objetivo analisar os mecanismos usados pelos designers em momentos de conflitos durante o processo de projeto que envolve a participação do cliente. Para tanto é apresentado referencial teórico em dois capítulos. Onde inicialmente, são discorridos os conceitos de design, aspectos referentes aos processos e modelos de projetos de design, para por fim descrever o processo característico dos projetos de moda sobmedida. Segue-se a abordagem conceitos relativos a conflito e negociação, importância da negociação e meios para a solução de conflitos. A investigação em caráter exploratório com abordagem qualitativa foi realizada por meio a entrevistas semiestruturadas, buscando a visão dos designers, que foram submetidas à Analise de Conteúdo. Após apresentação dos resultados obtidos, são dispostas as discussões ampliando os conhecimentos sobre a compreensão de como designers de moda agem ao enfrentar momentos de conflito junto a seus clientes em projetos exclusivos. A pesquisa contribuiu para a discussão do tema, bem como foi esclarecedora em relação à prática de projeto de moda envolvendo os clientes. / This dissertation presents a research about the negotiation in custom-made fashion design, having as obtectives to analyse the mechanisms used by designers to solve conflicts during the design prosses involving the participation of the client. For this purpose, the theoretical reference is presented in two chapters, where it is discussed the concepts of design, aspects related to processes of the designers and tools for conflict resolution. It was carried out the exploratory research with qualitative approach through semi-structured in-depth interviews, seeking the view of designers who were submitted to the Content Analysis. After the presentation of the results obtained, it is presented the discussions, increasing the knowledge on the understanding of how fashion designers act when facing moments of conflict with their clients in exclusive designs . The research not only contributed for the discussion of the theme but was also illustrative as to the practice of fashion design involving clients.