Trata-se de estudo e análise sobre o processo criativo no ensino e aprendizagem da moda, com vistas à compreensão de sua importância e de seu desenvolvimento nessa complexa especialidade do design. Visamos assim nossos esforços ao desenvolvimento da didática criadora na moda brasileira em nível superior. Como referência consideramos a história, a experiência e a qualidade reconhecida do processo de ensino e aprendizagem desenvolvido do curso de design de moda da universidade Iuav de Venezia na Itália, destacando-se a qualidade e modernidade do caso de Veneza. Com os resultados obtidos de análise, reiteramos o caráter fundamental do processo criativo na concepção e no de desenvolvimento de produtos e serviços da moda, mas sobretudo na importância da consideração do educando como sujeito em processo de ensino e aprendizagem e em sua relação coletiva em ambiente favorável para a troca e para a construções culturais. Em particular, destacamos também os aspectos sensíveis relacionados à expressão e à identidade em obra, que qualificam decisivamente o desenvolvimento especializado da linguagem da moda em seu contexto histórico e cultural / This work addresses the study and analysis of the creative process in fashion teaching and learning. It aims to understanding its importance and its development in this complex specialty design. So we direct our efforts to the development of creative teaching in Brazilian fashion at the higher education. As reference we consider the history, experience and recognized quality of teaching and learning process developed in the course of fashion design of IUAV - University of Venice in Italy, highlighting the quality and modernity of the case of Venice. With the results from the analysis, we reiterate the fundamental character of the creative process in the design and development of products and fashion services, but especially in the importance of considering the student as a subject in teaching and learning process and his collective relationship in environment favorable for the exchange and for the cultural constructions. In particular, we also highlight the sensitive issues related to the expression and identity in work, which decisively qualify the specialized development of the language of fashion in their historical and cultural context

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

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This research explores the scope of waste as a material and methods for fashion design, drawing together an open mindset and sustainable actions for a menswear collection. Reflective Design Practice is the overlaying methodology used to incorporate a wide variety of textile manipulations and materials. The research approach is to source waste materials, with a focus on virgin yarns for knitwear, exploring and identifying the possibilities for individual elements and analyzing through a photographic lineup, repeating for further development. This emergency, as well as a focus on perfect solutions from the offset, can be a barrier for experimentation. Therefore a change in posture and mindset is necessary. For this thesis, posture, motive, and aesthetic design decisions are embodied in a persona - This persona, delicate, yet rough and in a hurry, as with sustainability, are combined into the Lazy Romantic. Speculatively this research has the potential to open up for landfills as material sourcing for fashion design or landfills being unnecessary as the word waste is no longer defining the material.

El presente trabajo de investigación colocó a prueba todos nuestros conocimientos adquiridos durante el tiempo que duró la carrera, este proyecto radica en crear una idea de negocio innovadora, sustentable y viable. Los resultados de nuestras encuestas se pudieron analizar e identificar que existe un porcentaje de la población que presenta problemas de encontrar prendas amigables con el medio ambiente, muchas de ellas asisten a las tiendas por departamento de la cual no encuentran vestidos de algodón orgánico. Por tal motivo, surge Eco Vestidos, una idea de negocio que se basa en elaborar y comercializar vestidos 100% orgánicos y vender a través de su página web. Para desarrollar el actual proyecto se cuenta con un equipo de trabajo femeninas con los talentos y cualidades adecuados para cumplir nuestros objetivos y metas. Este proyecto logra cumplir los objetivos estratégicos propuestos, porque se obtiene una rentabilidad promedio anual de 17.59% y un adicional un VPN de S/1,130,953 expresados en término del año cero para todos los que financian este proyecto. Finalmente, por una inversión de S/96,041 en este proyecto, se obtiene una rentabilidad promedio anual de 14.47% y adicionalmente se obtendrá S/1,317,110 expresado en término del año cero para los cuatro inversionistas. Finalmente, el proyecto asegura una participación de mercado del 20% a partir del quinto año con una utilidad aproximada de del 15% de las ventas. Afirmando así, que es un proyecto viable. / This research work put our knowledge acquired during the time of the race to the test, this project lies in creating an innovative, sustainable and viable business idea. The results of our surveys could be analyzed and identified that there is a percentage of the population that has problems in finding environmentally friendly clothes, many of them attend department stores for which they do not find organic cotton dresses. For this reason, Eco Dresses arises, a business idea that is based on developing and marketing 100% organic dresses and selling through its website. To develop the current project, we have a female team with the appropriate talents and qualities to meet our objectives and goals. This project manages to meet the proposed strategic objectives, because an average annual profitability of 17.59% is obtained and an additional NPV of S/1,130,953 expressed in term of year zero for all those who finance this project. Finally, for an investment of S/96,041, an average annual return of 14.47% is obtained and additionally S/1,317,110 will be obtained, expressed in term of year zero ´for the four investors. Finally, the project ensures a market share of 20% from the fifth year with a profit of approximately 15% of sales. Affirming thus, that it is a viable project. We can also say that it is a sustainable business over time, for several main points: one is the type of material to use, fashion and, lastly, e-commerce channel. / Trabajo de investigación

[pt] Esta pesquisa analisa a dificuldade que os alunos de Faculdades de Design de Moda do Rio de Janeiro demonstram na transposição das representações mentais (ideia) para a representação real (desenho), redundando em um produto final, a roupa, desvinculado da representação mental inicial. Nossa hipótese é a de que a maioria carece de experimentar com reflexão, de perceber o todo e as partes que o constituem, de ser incentivado a explorar e desenvolver suas competências, ampliando suas habilidades, desenvolvendo uma visão holística do processo do Design de Moda. O ponto de partida deste estudo foi a experiência da autora, em sala de aula, fazendo uso da observação, da investigação e da identificação, a partir de pesquisa bibliográfica, entrevista e questionário, dos fatores que impedem o trânsito livre no processo de construção de uma roupa. Assim, o objetivo é propor subsídios facilitadores a partir de uma metodologia que visa propiciar a autonomia e consequente liberdade do aluno em um processo que envolve a Prática aliada à Teoria, na tríade proposta: ideia – desenho – produto, à luz do ver, do perceber e do construir. Tendo como suporte a aplicação de algumas técnicas artísticas, a partir de constante experimentação, buscou-se promover, num primeiro momento, a liberação de aspectos que bloqueiam a criatividade e que ampliam a visão espacial. Concluímos também que é necessário desenvolver conhecimentos de técnicas/arte de Modelagem, de Desenho Técnico, de Costura, que influenciarão na materialização da ideia, representada no Desenho/Ilustração de Moda. / [en] This research analyzes the difficulty that students from Faculties of Fashion Design in Rio de Janeiro demonstrate in transposing mental representations (idea) to real representation (drawing), resulting in a final product, clothing, unrelated to the initial mental representation. Our hypothesis is that the majority needs to experiment with reflection, to perceive the whole and the parts that constitute it, to be encouraged to explore and develop their skills, expanding their skills, developing a holistic view of the Fashion Design process. The starting point of this study was the author s experience, in the classroom, making use of observation, investigation and identification, from bibliographic research, interview and questionnaire, of the factors that prevent free transit in the process of building a clothes. Thus, the objective is to propose facilitating subsidies based on a methodology that aims to provide the student s autonomy and consequent freedom in a process that involves Practice allied to Theory, in the proposed triad: idea - design - product, in the light of seeing, of perceiving and building. Based on the application of some artistic techniques, based on constant experimentation, we sought to promote, at first, the release of aspects that block creativity and expand the spatial view. We also concluded that it is necessary to develop knowledge of techniques / art in Modeling, Technical Drawing, Sewing, which will influence the materialization of the idea, represented in Fashion Design / Illustration.

The rapid technological advancement and the increased awareness about the environment have introduced new digital tools to facilitate the design process in the fashion industry in which 3D technology was incorporated. Very few research has addressed the experiences of fashion designers when using 3D tools in their design process. Most of the previous research in this field focused on the technical aspects of using 3D design tools. Hence, this paper aims to investigate the experiences of fashion designers working with 3D design tools by answering the research question "What are the pros and cons of implementing 3D digital technology in the fashion industry on the design process of designers?”. Semi-structured interviews were undertaken through Zoom with eight fashion designers located in different countries, and the data obtained were analyzed through thematic analysis. Most of the 3D designers participating in this study use CLO3D as a main program to design digital garments as it is efficient and holds a high degree of control and advanced settings. The results revealed seven themes, namely: flexibility and realism, improved communication, sustainability, gap between the digital and physical prototype, necessity of proper knowledge and training, limited creativity, and customization, and lastly, lack of social acceptance. The first three are considered pros whereas the latter four are cons. The discussion of results differentiated between two stages which are sketching and prototyping where most advantages are found in the sketching phase. Therefore, further technological advancements are needed to improve the properties of virtual garments in addition to a change of stakeholder mentality in order to embrace and accept digital technology. Hence, this study will benefit later research in the field to improve 3D tools and close the gap between physical and virtual prototypes.

The cultivation effect is defined as the distorted view of reality which results from the heavy viewing exposure to a certain type of programming content. The assumption behind the cultivation hypothesis is that the more hours an individual exposes himself or herself to a particular type of program content. the more the individual's view of reality will be consistent with the "reality" shown in the program. It is no mystery that for the past half-century, millions of Americans have made the broadcast soap opera a daily habit. In response to the heavy interest exhibited by this strong audience, social scientists have begun to systematically study this area of broadcast programming. The purpose of this study is to investigate the relationship between women's perceptions of how other women dress based on their amount of viewing exposure to nighttime dramas. ln addition, this study will investigate the relationship between viewing exposure and the use of nighttime dramas for fashion information, and the importance of dressing like the characters in the nighttime dramas.

Svenska varumärken i allmänhet och svenska modevarumärken i synnerhet har en god ställning på den globala marknaden. Som en konsekvens av detta väljer flera svenska modeföretag att marknadsföra sina varumärken genom att betona sitt svenska ursprung. Detta är vad som inom marknadsföring benämns som Country-of-Origin. Utlandsarbete har tidigare associerats med negativa aspekter så som kulturella konflikter och anpassningsproblem, men även positivt betonade aspekter som ökad produktivitet och ökad nivå av kreativitet. Denna studie har som syfte att undersöka hur svenska modedesigners som arbetar utomlands påverkas i sitt arbete av att ha Sverige som ursprungsland. Studien undersöker om svenska modedesigners likt svenska modeföretag nyttjar sin ursprungslandsidentitet för att skapa framgångar, hur de påverkas av sitt ursprungsland i form av fördelar, nackdelar, förväntningar och fördomar, samt vilken uppfattning de har av innebörden av att lyckas med sitt arbete inom modedesignbranschen i utlandet. De teorier som studien utgår ifrån är Country-of-Origin, Kulturkapitalsteori samt Psychological Contract Theory. Studien utgår från kvalitativa intervjustudier där fem svenska modedesigners verksamma i fem olika länder besvarat intervjufrågor i både strukturerat och semi-strukturerat format. Efter analys av resultaten i förhållande till relevanta teorier och tidigare forskning kommer studien till slutsatsen att det inte finns någon delad tydlig syn mellan svenska modedesigners i utlandet gällande innebörden med att lyckas med sitt arbete, då en mängd olika faktorer både inom den direkta arbetsplatsen och utanför benämns som orsaker bakom ett lyckat arbete. Utöver detta nås slutsatsen att svenska modedesigners i utlandet inte aktivt anser sig använda sin ursprungslandsidentitet för att lyckas i sitt arbete, men att de upplever särskilda förväntningar samt vissa fördelar med att ha Sverige som ursprungsland. / Swedish brands in general and Swedish fashion brands in particular hold a strong position on the global market. As a result of this many Swedish fashion companies choose to market their brands by emphasizing their Swedish origin. This is commonly known as Country-of-Origin within the field of marketing. Working abroad has often been associated with negative aspects such as cultural conflicts and integration issues, but also positive aspects such as increased productivity and increased levels of creativity. The purpose of this study is to examine how Swedish fashion designers working abroad are impacted in their work by having Sweden as their country of origin. The study examines if Swedish fashion designers utilize their country of origin in a way alike Swedish fashion companies in order to establish success, how they are impacted by their country of origin in terms of benefits, disadvantages, expectations and stereotypes, and also how they perceive the meaning of the term success in terms of working abroad as a Swedish fashion designer. The study utilizes Country-of-Origin, Cultural Capital Theory as well as Psychological Contract Theory to construct its theoretical base. The study is based on qualitative interviews where five Swedish fashion designers working in five different countries answer questions in both a structured and a semi-structured format. After analyzing the results using relevant theories and previous research the conclusion that there is no unified and commonly agreed opinion of what constitutes success while working abroad as a Swedish fashion designer is reached. This is due to the fashion designers expressing a variety of different factors both within and outside of the direct workplace when defining success. In addition to this the conclusion that Swedish fashion designers abroad do not claim to actively utilize their country of origin in order to be successful in their work, and that they experience certain expectations and some benefits because of their country of origin is reached.

Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.