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Projektet är ett glasdesignprojekt där visionen var att ta fram en nyskapande belysningsarmatur för privat, offentlig och exklusiv miljö. Målet var att ta fram en nyskapande belysningsarmatur med avseende form, teknik och material med möjlighet till rationell tillverkning. Syftet var att undersöka glasets möjligheter, begränsningar och uttryck genom en komplex form och specifika krav på utseende. Jag ville undersöka glasets möjligheter och formbarhet. Hur mjukt och böljande går det att forma glaset? Kan glaset få samma mjukhet och svallande egenskaper som textil? Jag ville även undersöka hur ljuset påverkas av glasets form, tjocklek och färg. I projektet har jag fått ta hänsyn till många olika parametrar så som tillverkningsteknik, ljuskälla, ljustyp, tekniska lösningar m.m. Jag har även fått kompromissa när det gäller form och storlek på mitt objekt p.g.a den korta tiden. Objektet blåstes av Mikael Johansson i hyttan i Pukeberg. / This project is a glass design project with the vision to create a innovative armature for private, public and exclusive environment. The goal was to create a innovative armature in meaning of form, technique and material with contingency of rational production. The aim was to examine the possiblities, limitations and expression of the glass through a complex form and specific demands of appearance. I wanted to examine the possibilities and formablity of the glass. How smooth and billow can the glass be formed? Can the glass get the same softness and billow appearance as fabric? I also wanted to examine how light is affected by the shape, thickness and colour of the glass. In these project I have had to take into concideration several parameters, like manufacturing techniques, light source, light type, technical solutions etc. I also have had to compromise concerning form and size of my object due to the short project time. The objects where blown by Mikael Johansson in the blowing room of Pukeberg.

<p>Projektet är ett glasdesignprojekt där visionen var att ta fram en nyskapande belysningsarmatur för privat,</p><p>offentlig och exklusiv miljö.</p><p>Målet var att ta fram en nyskapande belysningsarmatur med avseende form, teknik och material med</p><p>möjlighet till rationell tillverkning. Syftet var att undersöka glasets möjligheter, begränsningar och uttryck genom en komplex form och specifika krav på utseende. Jag ville undersöka glasets möjligheter och</p><p>formbarhet. Hur mjukt och böljande går det att forma glaset? Kan glaset få samma mjukhet och svallande egenskaper som textil? Jag ville även undersöka hur ljuset påverkas av glasets form, tjocklek och färg.</p><p>I projektet har jag fått ta hänsyn till många olika parametrar så som tillverkningsteknik, ljuskälla, ljustyp, tekniska lösningar m.m. Jag har även fått kompromissa när det gäller form och storlek på mitt objekt p.g.a den korta tiden.</p><p>Objektet blåstes av Mikael Johansson i hyttan i Pukeberg.</p> / <p>This project is a glass design project with the vision to create a innovative armature for private, public and exclusive environment.</p><p>The goal was to create a innovative armature in meaning of form, technique and material with contingency of rational production. The aim was to examine the possiblities, limitations and expression of the glass through a complex form and specific demands of appearance. I wanted to examine the possibilities and formablity of the glass. How smooth and billow can the glass be formed? Can the glass get the same softness and billow</p><p>appearance as fabric? I also wanted to examine how light is affected by the shape, thickness and colour of the glass.</p><p>In these project I have had to take into concideration several parameters, like manufacturing techniques, light source, light type, technical solutions etc. I also have had to compromise concerning form and size of my object due to the short project time. The objects where blown by Mikael Johansson in the blowing room of Pukeberg.</p>

"Reflection of Haute Couture in The Czech lands" deals with fashion in the second half of the 19th century and early 20th century in the Czech lands. Before confirmation of national independence in the form of Czechoslovak republic the Czech fashion was evolving between two opposing tendencies. First, there was acceptance of influence from abroad, especially from France, England and Germany particularly through fashion magazines, and second, there was an effort to preserve national originality. The target of this thesis is not the analysis of fashion trends in the Czech environment but analysis of fashion as a phenomenon linked to wider societal aspects, political affiliations, construction of national identity and specific, nearly missing position of Czech aristocracy. This thesis monitors the status of a tailor in the Czech lands, his struggle with the beginning of apparel production and compares his emplacement with the French tailors, also known as coutiers who have created an autonomous and independent status of the clientele already in the second half of the 19th century.

Webbdesign är ett hantverk med potential till oändlig variation och oräkneliga möjligheter, men det är även en process styrd av standarder och förhållningssätt för att optimera resultatet för slutanvändaren. Begrepp så som user experience och framför allt user experience design har i och med utvecklingen blivit allt viktigare aktörer inom webbdesign. Samtidigt som de underlättar i utvecklingsprocessen genom att diktera hur design bör utformas, skapar de inte också då begränsningar av potentialen för webbdesign? Antalet variationer och möjligheter minskar drastiskt när webbdesigners anpassar sig efter dessa standarder. Den här undersökningen syftar till att utveckla nya metoder och strategier för att främja innovativ webbdesign och undersöka hur modebranschens konstanta strävan efter innovation skulle kunna inspirera och kanske till och med förändra webbdesign utvecklingen. Genom att bryta ner, analysera och sammanfoga designprocesserna för haute couture och webbdesign skapas en designmetod som ger medvetenhet i designval och hjälper att ifrågasätta standarder samt att undersöka alternativa lösningar. Designmetoden kallar vi Webb couture och är ett resultat av undersökningens teoretiska efterforskningar kring user experience och haute couture, designmetoden tillämpas även praktiskt i gestaltningen av undersökningen. / Web design is a craft with unlimited potential for variations and possibilities, but it is also a process controlled by standards and guidelines to optimize results for the end-user. Concepts like User Experience and User Experience Design have through the development of the field become actors of great influence in web design. While they facilitate the development process by dictating how design should be designed, does it not also create limitations to the true potential of web design? The total number of variations and possibilities is reduced drastically when a web designer applies such standards. The goal of this study is to develop new methods and strategies to create innovative web design and to investigate how the fashion industry’s constant quest for innovation could be applied to transform web design. Through breaking down, analyzing and merging the design processes of haute couture and web design we created a design method that gives awareness to the design choices and helps to question the standards and explore alternative solutions. The design method is called Web couture which is a result of the study's theoretical research on user experience and haute couture, this design method is also applied in practice on a web production that is part of the study.

The main purpose of this study is to examine how the media representation of the war in Ukraine is portrayed in Balenciaga’s runway for "Summer 23" collection in Paris Fashion Week 2022. To reach the objective of this study I used an approach based on a qualitative method with support from theories concerning socio-semiotics, Pierre Bourdieu’s theory of capital, provocation and taste. The material, based on video sequences and screenshots from the runway-show, are analyzed in correlation to the contemporary social and cultural context of a westernized perspective. The outcome of this study indicates that Balenciaga, as a luxurious brand with high levels of all forms of capital, alludes to the media’s representation of war as a means of provocation, which makes the "good taste" that they possess change. / The primary aim with my Media Production is to create a visual material whose purpose is to emotionally touch the intended target group to click on the Action for Happiness website and to learn more about how one can live to achieve a happier life. My animated introductory video is meant to be an entry to the "10 Key Words for a Happier Life" page on the website.

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2016-12-19T15:04:57Z No. of bitstreams: 1 Maria Auxiliadora Leite Costa.pdf: 4391352 bytes, checksum: 8373d57a410924c768fbd543090d86b0 (MD5) / Made available in DSpace on 2016-12-19T15:04:57Z (GMT). No. of bitstreams: 1 Maria Auxiliadora Leite Costa.pdf: 4391352 bytes, checksum: 8373d57a410924c768fbd543090d86b0 (MD5) Previous issue date: 2016-12-02 / The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashion / O objeto de estudo desta tese é o fenômeno da alta-costura em conexão com a reprodutibilidade técnica da fotografia. Neste sentido está voltado a uma investigação da origem da alta costura e de circunscrevê-la ao conceito de aura, conforme definição de Walter Benjamin, abordando também a sua perda sob a ação da crescente difusão da denominada fotografia de moda. Assim sendo foi desenvolvido o argumento de que a alta-costura formou uma estrutura calcada na dialética do distanciamento e proximidade, base da forma aura, cuja incidência se deu em duplo sentido: 1) na existência material do vestuário nela produzido, em seus aspectos de unicidade, raridade e, posteriormente, autenticidade, todos ligados à tradição do saber fazer e 2) na percepção do distanciamento deste vestuário produzido no âmbito da alta costura. No sentido inverso, argumenta-se que a difusão da fotografia de moda abalou tanto a percepção de distanciamento quanto, paradoxalmente, a necessidade da presença do próprio vestuário para formar as tendências de moda e consumo, retirando, portanto, o caráter aurático do vestuário da alta-costura e enfraquecendo o seu poder. Com o intuito de circunscrever o conceito benjaminiano de aura no campo da alta-costura, realizou-se uma imersão no alargamento operado por Benjamin no método do materialismo histórico de Marx e suas profundas consequências no próprio conceito de história, sem a qual seria impossível dar qualquer credibilidade a tal circunscrição. Além disso, alguns editoriais de moda foram selecionados a partir de trabalhos fotográficos de profissionais conhecidos pela forma inusitada de lidar com a fotografia de moda, assim fotógrafos como Tim Walker, Nick Knigth, Andrew Fee e Koo Bohn Chang foram escolhidos como parte do corpus a ser estudado, no sentido de avaliar a possibilidade de a fotografia de moda se constituir em legítima expressão de experimentação e construção fotográfica e, assim, superar aquilo que Benjamin chamou de fetiche da criatividade, um mero artificialismo de montagem fotográfica. Em última instância a pesquisa procura lançar luzes sobre este importante fenômeno midiático: a moda

Dans cette thèse, j'étudie l'émergence, la diffusion, et la transformation du prêt-à-porter à New York et à Paris depuis les années 40 jusqu'aux années 70, au travers de 3 articles constitutifs. L'étude comparative de l'article 1 révèle l'origine, le sens et la complexité du prêt-à-porter en tant qu'innovation. Puis, dans l'article 2, je m'intéresse au processus de diffusion complexe et d'institutionnalisation du prêt-à-porter dans le système de la haute couture, en me concentrant sur le contexte institutionnel, les acteurs clés et les forces influentes. Enfin, dans l'article 3, je décompose le processus de diffusion complexe en quatre étapes et j'examine les différents acteurs et réseaux dans chaque étape, en établissant les interactions entre réseaux et institutions. Dans leur ensemble, ces trois articles enrichissent notre compréhension de la diffusion complexe, y compris ses sens, ses processus sous jacents et mécanismes, depuis des points de vue différents. L'article 1 se concentre sur la complexité du prêt-à-porter lui-même. L'article 2 souligne la complexité depuis le cadre institutionnel et l'adaptation associée au processus de diffusion. L'article 3 traite de la complexité depuis l'évolution des réseaux et leur interaction avec les institutions. / In this dissertation, I study the emergence, diffusion, and transformation of ready-to-wear fashion in New York and Paris from the 1940s to the 1970s through three component papers. The comparative study in paper 1 reveals the origin, meaning, and complexity of ready-to-wear as a business innovation. Then in paper 2, I look into the complex diffusion and institutionalization process of ready-to-wear fashion in the haute couture system, focusing on the institutional context, key actors, and driving forces. Finally, in paper 3, I decompose the complex diffusion process into four stages and examine multiple actors and networks in each stage, addressing the interplay between networks and institutions. Taken together, these three papers enrich our understanding of complex diffusion, including its meanings and the underlying processes and mechanisms, from different angles. Paper 1 focuses on the complexity of ready-to-wear fashion itself. Paper 2 underlines the complexity from the institutional setting and the adaptation associated in the diffusion process. Paper 3 addresses the complexity from the evolution of networks and their interplay with institutions.

This work is an investigation of how to redefine the perception of decoration. Decorative elements are reinvented as fundamental tools for creating garments and form in a collection of nine outfits. To show the width of what embellishment is able to create, the decorative techniques of all garments are different. The work also deals with the question of taste when it comes to embellishment. By using decorations seen as tasteless the work revaluates notions of good and bad taste. Materials as sport fabric combined with embellishment trick the eye and all small decorations together form new materials. New ways to use embellishments are explored, and the time consuming techniques are reminiscent of haute couture techniques, but in the designer’s own way.

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