Throughout history, the Black Diaspora has used fashion as a form of protest. The element of fashion is often overlooked when considering the history and struggle for Black equality, because it is less tangible or definable in terms of its influence and effect, but it is still important because Black males resist the dominant culture via dress by dressing in military uniforms, creating their own style, and using different colors in their dress. Studying the Black struggle in American history during specific periods is one way to better understand opposition to the majority culture through fashion. We should also consider the mood of a social system when examining the dress of a particular group during conflicts. Hence, the purpose of this study is to investigate the role of fashion as a protest tool against the majority culture, and the social mood that affects the fashion choices of Black males. The study focuses on Black fashion from 1910 to 2015. Text data were collected and analyzed from articles published in The Crisis magazine, and men's fashion was specially examined. Additionally, images were studied via visual ethnography and images were coded based on color choice, fit, and accessories. For conducting sentiment analysis, lexicons were used, and the text was examined for negative sentiment. The overall negative sentiment of the document was obtained. Graphical analyses are included to present the findings. The findings, conclusions, limitations, and future research are discussed.

MENDING ON DISPLAY is an exploration of how to involve people in mending and have it be incorporated into everyday life. This was done through mending workshops, investigative conversations and a window display exhibiting visibly mended clothes. With all the devastating news reporting on how the planet is rapidly changing for the worse, it’s important to show that there can be joy in striving towards sustainable solutions, and moving away from current fashion culture does not have to mean compromising on your personal expression. The two main collaborations in the project are with the people interacting with it, and the secondhand store Busfrö. For this type of workshop to engage people in mending it needs to regularly occur, a routine space where one can join in for example once a month in the same place. These places exist already but few know about them, we need more of these initiatives in different contexts in order to spread the engagement in the craft. In my work I invited others to join through workshops, but I also felt welcomed into a bigger context and community network where mending is the binding force.

Made available in DSpace on 2016-04-26T18:18:40Z (GMT). No. of bitstreams: 1 Maria Carolina Garcia.pdf: 13159973 bytes, checksum: f6a3cc4439214df44b93ebc2df213de3 (MD5) Previous issue date: 2010-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The 15th and 16th centuries Great Navigations introduced new consumer habits in Europe and the Americas, for the expansion of intercontinental commercial routes allowed the entrance of rare products in these markets. Among those, there were cotton textiles adorned with flower patterns, known as chintzes, which in this study are referred to under communication optics. Considered as typical goods from certain regions, they were very much appreciated and acquired by travellers in order to manufacture clothes, multiplying their presence in various countries and allowing a large dislocation of foreign images. If commerce and use suggest the possibility of reaching cultural significations previously considered inaccessible, or even the chance of creating a bond with a distant Other, floral cottons from these countries supposedly would keep, inside image layers, a certain symbolic heritage. This research aims to decipher in which way and to which extent these souvenir-images of chintzes establish communicational bonds with consumers from various cultures, allowing images to have a post-life. In order to do so, it uses the concepts of primary and secondary media from Harry Pross Media Theory, the studies on communicational bonding and iconophagy by Norval Baitello Júnior and the postulations on Image Theory spread by Hans Belting and Aby Warburg. In the scope of textiles, an apparent evolution incentives consumption, or devouration, of one image by the other, characterizing iconophagy processes. Therefore, this study accompanies the chintzes journey in the international market, aiming to detect the presence of moving images and also to understand the symbolic migration in floral printings. The reflection focuses specially in Mexico, going from images present in textiles produced by zapotec natives, commonly chosen by painter Frida Kahlo to organize her looks. The analysis considers to which extent they mingle with other culture images, resisting and surviving, no matter if the interchange of knowledge and artisan techniques among peoples comes to produce adaptations for industrial purposes. While addressing the presence of erratic and mongrel images in the artist s wardrobe, the study investigates in which ways the public image of Frida Kahlo works as a bridge to reach significations dislocated in the moving market of souvenirs, which, in turn, would refresh itself with simulacrums of the aimed bonds. As a result, the research concludes that the textile can be considered a secondary media which adds to the body so as to expand its presence in the world in order to win the battle against death, establishing communicational bonds among cultures and favoring the post-life of the images / Com as Grandes Navegações dos séculos XV e XVI, novos hábitos de consumo foram introduzidos na Europa e nas Américas, já que a ampliação das rotas comerciais intercontinentais permitiu a entrada de produtos raros nesses mercados. Dentre eles, destacam-se tecidos de algodão ornamentados com padrões florais, conhecidos como chitas, que neste estudo são tratados pela ótica da comunicação. Considerados bens típicos de dadas regiões, foram muito apreciados e adquiridos pelos viajantes para confecção de roupas, multiplicando sua presença em vários países e permitindo amplo deslocamento de imagens estrangeiras. Se a comercialização e o uso sugerem a possibilidade de acessar significados culturais considerados inacessíveis, ou seja, de criar um vínculo com o Outro distante, algodões florais desses países supostamente guardariam, nas camadas de imagens errantes, certo patrimônio simbólico. Esta pesquisa objetiva desvendar de que maneira e em que medida as imagens-souvenir presentes nas chitas estabelecem vínculos comunicacionais com consumidores de distintas culturas, possibilitando uma pós-vida das imagens. Para tanto, utiliza os conceitos de mídia primária e secundária advindos da Teoria da Mídia de Harry Pross, os estudos sobre vinculação comunicativa e iconofagia de Norval Baitello Júnior, e as postulações da Teoria da Imagem difundidas por Hans Belting e Aby Warburg. No âmbito dos têxteis, uma aparente evolução incentiva o consumo, ou a devoração, de uma imagem pela outra, caracterizando processos de iconofagia. Assim, o estudo acompanha a jornada das chitas no mercado internacional, com o intuito de detectar a presença de imagens em movimento e entender a migração simbólica na estamparia floral. A reflexão foca-se especialmente no México, partindo das imagens presentes nos têxteis produzidos pelos indígenas zapotecas, comumente escolhidos pela pintora Frida Kahlo para compor sua aparência. A análise considera em que medida elas se mesclam a outras imagens da cultura, resistindo e sobrevivendo, ainda que os intercâmbios de saberes e técnicas artesanais entre os povos venham gerando adaptações para a produção industrial. Ao abordar a presença de imagens errantes e mestiças no guarda-roupa da artista, o estudo investiga os modos pelos quais a imagem pública de Frida Kahlo funciona como ponte para alcançar significados deslocados no mercado movediço do comércio de souvenirs, que, por sua vez, se reabasteceria com simulacros dos vínculos almejados. A pesquisa conclui que o tecido pode ser considerado uma mídia secundária que se soma ao corpo para expandir sua presença no mundo e vencer a morte, estabelecendo vínculos comunicativos entre culturas e favorecendo a pós-vida das imagens