Dissertation submitted in compliance with the requirements for the degree of Master's of Technology: Fashion, Durban Institute of Technology, 2003. / This study addresses the relationship between the clothing behaviour and identity of African South African women in the corporate world, with reference to black identity and Western style of clothes. Central to these two issues the study tried to focus on the factors which may have an influence on the clothing behaviour of African South African women. Clothing as communication and factors which influence people's clothing behaviour were also covered to find out why people wear the clothes they wear. The sample consisted of African South African women (n =100) in Gauteng and KwaZulu-Natal. Research was conducted by means of a structured questionnaire. The qualitative method provided a systematic investigation of the topic. The research methods included descriptive and inferential Statistics. Three hypotheses were formulated for the investigation. Each of the clothing variables was examined relative to the hypothesized relationship. There were fifty-one clothing variables employed in the analyses. The results exhibited a need for ethnically influenced clothes for African South Africans. The findings indicate that there was symbolic meaning attached to ethnically influenced clothing and beads, and that the symbolism attached to clothing items can influence a person's clothing behaviour. Recommendations were noted and followed by the Conclusion. / M

Dissertation submitted in compliance with the requirements for the Masters Degree: Fashion, Durban Institute of Technology, 2004. / This study sought to reveal conceptual connections between experienced social reality and garment products as cultural artefacts. Evaluation of the aesthetic fashion appeal of garment products was seen as a specialised interpretive skill. Modelling of essential elements of fashion meaning in South African men's leisurewear aimed to render professional interpretive acumen more widely accessible / M

Submitted in partial fulfillment for the Masters in Technology Fashion, Department of Fashion and Textiles, Durban University of Technology. Durban. South Africa, 2014. / My study is a qualitative research self-study. The aim of the study is to demonstrate how my multi-cultural origins have created in me my unique South African-ness and how this uniqueness has manifested in my art of fashion design. As a critically reflective practitioner-researcher trying to improve my professional practice, I have used multiple methodologies to answer the question in the title of my introspective study, “A Narrative Self-Study: How do I demonstrate my multi-cultural origins in my art of fashion?” I have used critical reflection, action research, narrative enquiry, and auto-ethnography to account for how my discovery of my amaXhosa and amaMpondo roots has interacted with my Bosotho-ness, and my Born-again Christian awareness. I have thus transformed my understanding of myself, my values, my beliefs about myself and the world around me. I collected the data in a number of different ways: I reflected on the lived experiences of my childhood; I observed and participated in cultural rituals, and reflected on these lived experiences; I used unstructured interviews to talk to many people who provided information which I recorded using a digital camera and took notes. These experiences and reflections enabled me to develop a Mix-and-Match Fusion Fashion design range of outfits. My Mix-and-Match Fusion Fashion design range incorporates a number of elements which identify with all of my cultural origins. I believe that my Mix-and-Match Fusion Fashion range demonstrates my South African-ness in my art of fashion design. It represents and expresses, symbolizes and celebrates the transition of my beliefs and understanding of my journey of self-discovery involving my five personas. I have used visual methodologies to analyse my designs and employed visual analysis to discuss my findings. I believe that Africans are increasingly proudly wearing and accepting their traditional attire as high fashion. I believe that the design of my Mix-and-Match Fusion Fashion range is suitable for the Southern African market, and demonstrates that I have effectively used my multi-cultural origins to improve my art of fashion.

Submitted in partial fulfillment of the requirements for the Master's Degree in Technology: Fashion, Durban Institute of Technology, 2006. / This dissertation questions and expands currently held notions of traditional fashion identities in South African fashion photography. The impetus for this study stems from observations of a relatively low level of political engagement in local fashion photography as compared to other areas of art and design which seem very enunciative of a politics of identity. Investigation of identity politics in South African fashion photography was informed by a staged investigation. Firstly, accounts of a literature review of fashion theory and key theories of identity allow entrenched constructions of fashion representations to be seen as restrictively politicised. Primary investigation of expert fashion views followed. The concepts of hybridity and fluidity in theories of identity were central to the discovery of alternative politicised fashion identities / M