Entrepreneurship in the fashion industry is a substantial issue since the fashion business landscape consists of many small actors that compete on the fashion market. On their way to a distinct position in the textile and fashion world, many fashion design entrepreneurs, who start up an own label, are confronted with personal challenges and a multitude of external obstacles. These companies need a structured venture launch and strong business foundations to survive the always troublesome first years of a new entrepreneurial venture. To run a sustained venture within the apparel industry may be more complex and demanding than one would believe. In the fashion sector several concepts exist in order to support entrepreneurial companies’ growth. Three selected supportive concepts received by fashion entrepreneurs at early stage have been examined and analysed. The supportive models are business incubators for creative entrepreneurs, the partnership of a designer and business partner and the concept of an external professional management. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring

Entrepreneurship in the fashion industry is a substantial issue since the fashionbusiness landscape consists of many small actors that compete on the fashion market.On their way to a distinct position in the textile and fashion world, many fashion designentrepreneurs, who start up an own label, are confronted with personal challenges anda multitude of external obstacles. These companies need a structured venture launchand strong business foundations to survive the always troublesome first years of a newentrepreneurial venture. To run a sustained venture within the apparel industry may bemore complex and demanding than one would believe. In the fashion sector severalconcepts exist in order to support entrepreneurial companies’ growth. Three selectedsupportive concepts received by fashion entrepreneurs at early stage have beenexamined and analysed. The supportive models are business incubators for creativeentrepreneurs, the partnership of a designer and business partner and the concept ofan external professional management. / Program: Magisterutbildning i fashion management med inriktning modemarknadsföring

Within the fine arts, clean and flat structures functionas a narrator for the clean, modern and hightech society. A society with a hygienic fear of death, illness and chaotic structures. The aim of the work is through the materialand surface inflict the hidden, the other side, the darkness and death, in strict and formal mens archetype garments. / Program: Modedesignutbildningen

O mercado global do vestuário, paulatinamente, se organiza no sentido de separar, geograficamente, a produção do consumo, nesse sentido marcas mundialmente reconhecidas e grandes empresas varejistas se expandiram através dos benefícios da economia em escala. Isso faz com que várias micro e pequenas empresas do setor tenham que repensar suas identidades de marca. Esta pesquisa mostra-se como uma tentativa de entender o papel do design na construção de marca, assim como caracterizar a percepção de microempresários do setor de moda de Porto Alegre, a respeito do tema. Procura-se contribuir com o desenvolvimento de micromarcas, as quais atuam em um território específico e, na maioria das vezes, não são conhecidas para além da região em que operam. A fim de se chegar a um resultado satisfatório, três objetivos específicos são traçados: mostrar a lógica de funcionamento da cadeia global do vestuário; compreender a participação do design na construção de marca; e por fim encontrar maneiras de verificar a percepção de microempresários sobre o papel do design na construção de marca, através de entrevistas semiestruturadas. Os resultados apontam para a consciência, entre os entrevistados, da importância do design na construção de marca, entretanto, a maneira como cada um percebe essa participação varia, sendo que alguns acreditam no design enquanto item fundamental na concepção de coleções e outros o concebem como um meio de expressar um estilo de vida. / The global apparel market has continuously been organized in a way as to separate production and consumption, in that sense, world renowned brands and big retailers have expanded through economies of scale. Micro and small enterprises in the area have had to rethink their own brand identities. This research is an attempt to understand the role of design in brand building, as well as what local Porto Alegre based micro-entrepreneurs in the fashion business think about it. The purpose is to contribute towards the development of micro brands that only reach a certain geographical area and are often unknown beyond their scope of activity. In order to achieve a meaningful outcome, we have drawn three specific objectives: first, showing how the world apparel chain works, then understanding the part design plays in brand building, and finally inquiring on micro-entrepreneurs’ perception on the role of design in brand building, through semi-structured interviews. The outcome shows interviewees are aware of the importance of design in brand construction. However, the way each of them conceives of its part varies, while some believe design to be a crucial item in the creation of collections, others see it as a means to express lifestyle.

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O presente trabalho aborda análises históricas das metodologias utilizadas para o ensino da modelagem do vestuário e propõe o desenvolvimento de diretrizes para este ensino. Para tanto, realiza um levantamento histórico a respeito das diversas técnicas e métodos utilizados desde a década de 1960, fazendo uma comparação entre método e período sociocultural, visando à busca de técnicas que facilitem o processo de aprendizado em discussão. A análise das principais técnicas de modelagem utilizadas ao longo do tempo, das organizações curriculares dos principais cursos de graduação de Moda, e das pesquisas com profissionais educadores da área, proporcionarão uma ampla visão do que pode ser utilizado para otimizar o processo de aprendizado e o que deve ser descartado, por não favorecer uma formação mais rápida e de melhor qualidade. Após o estudo em questão, este projeto propõe um conjunto de diretrizes que favoreça a transformação do aluno em um profissional qualificado para atuar na área de modelagem do vestuário. / This research discusses historical analysis of methodologies for pattern making teaching and proposes the development of guidelines for teaching. The study presents a historical survey about the various techniques and methods used since the 1960s, making a balance between method and socio-cultural period in order to search for techniques to facilitate the learning process under discussion. The analysis of the main pattern making techniques used over time, the curricula of leading Fashion Graduation programs, and the research with professional educators, will provide a broad overview of what can be used to optimize the learning process and what should be discarded for not favoring a faster and better training. After the study in question, this project proposes a set of guidelines that encourage the transformation of the student in a qualified professional to act in Pattern making clothing.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

This bachelor degree work explores the interrelation between print and surface in fashion design and aims to investigate the expressional possibilities in merging of techniques. With focus on creating an irregular surface through embroidery and fringing, three-dimensional expressions are created, resulting in an illusion of depth and movement within the motifs. The work is textile-driven, hence the main focus has been to find materials, applicational techniques and motifs that interact with each other without conflicts. Through the use of heat sensitive yarns within the transfer printing process a clear relationship between texture and motif occur where the different aspects affect each other and are equally important for the final visual expression. It is the heat-press used to transfer print from paper to surface that is the most vital step of the process. This work strives to propose a transposed order of applying techniques within a design process. Whilst the act of embellishing existing prints has been investigated by a range of designers, this project propose an order where the print is added post additive surface-manipulation. Therefore this work is to be seen as a suggestion of new ways of approaching the use of prints within the fashion field. Balancing between fashion design and textile design, the collection is based on generic prints and shapes which are affected by the surface manipulations used.

Visual dominance. Our human perception, that with great authority, powerfully influences and controls all of our senses. In turn, our minds try to acquire and maintain meaningful perceptions in what we are experiencing, may that be in a chaotic world, a cacophony in colour or vibrations in patterns. This project explores disturbances in pattern and colour and how these elements can deceive the eye. Playing with elements such as opacity, layers and transparency the nine outfits presented in this project attempt to explore the principles of Gestalt psychology to create disorder and confusion. Significantly, the project discusses our perception of pattern and colour and how with small measures these components can outsmart our senses, highlighting the importance of psychological methods and techniques in design rather than scientific or mathematical.

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.