Submitted in partial fulfillment for Masters in Fashion, Durban University of Technology, Durban, South Africa, 2016. / In my practise-based action research self-study I have developed ways in which to improve my practice as a bridal-gown designer in a highly-competitive and import-driven bridal-gown market. My earnest intent was to improve my practice using action research methods whilst simultaneously developing a solution through critical reflection and practice-based approaches as an economically-sustainable designer of bespoke, cost-effective, competitively-priced bridal gowns. I realised the potential for professional influence and positive economic growth through entrepreneurial thinking, not only for me but for others; it was this which cemented a sense of values in me as an action researcher. I have displayed a healthy marriage between equally important views of practice as theory and the theory as practice. I explored relevant literature that would validate my practice and aid in answering my critical questions, which became evident as validation chapters in my study. Carrying out internships with three bridal gown designers opened my eyes to the real world of business, a sense of theory as practice, where I could see, first-hand, the effects the import industry had on local designers and what they were doing to survive. The conceptualisation of foundational bridal blocks was a solution to save time in my own creative process so that I could produce cost-effective bridal gowns at a competitive price, in a sustainable manner. Once I had explored and created my own interpretation of the foundation block concept that transformed into a small collection of bridal gowns, I used the foundation blocks as a starting point to design bridal gowns for ‘real’ bridal clients. My study is personal in nature; by way of using self-study methods and also the personal ‘one-on-one’ connection I have with my ‘real’ bridal clients. I extended this ‘personal factor’ by holding a public exhibition to which I invited my friends, family, the public and my peers to view and give critical feedback on my work as a bridal gown designer. / M

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.