In the discipline of fashion, wardrobe staples and evening wear are two clothing categories with different purpose and used for different occasions. Wardrobe staples consist of classic garments used in our everyday life in contrast to evening wear which stands for elegant and decorative expression. This study was aimed at developing garment hybrids in between the clothing categories wardrobe staples and evening wear. Wardrobe staples and evening wear are separated because of their different characteristics, this study aims to developing garment hybrids in between the clothing categories wardrobe staples and evening wear. The motive is to look beyond the categorizations and combined their differences to a new whole, for example, a wrinkled shirt in contrast to lace gloves. These two categories consist of design that for a long time, has been settle and the same, with a clear expression and usage there are room and opportunity for renovation and change. In these established categories there are distinct right and wrong regarding shape, materials and details and minor changes can transform the whole expression. The sample was selected from a visual investigation of what characterize wardrobe staples and evening wear. These characteristics were explored physically through deconstruct the expression of wardrobe staples by adding features from evening wear to create hybrids. The contrast and differences of wardrobe staples and evening wear are altered both in shape, materials and details and therefore, in this study, various ways of changing the appearance of wardrob staples will be demonstrated. The experiments were evaluated how and how much the added feature from evening wear affects the final outcome, depending on the chosen wardrobe staple how obvious the feature has to be. The collection is showcasing garments and outfits that more or less implanted of evening wear features as well as in different ways are implanted by the features, for example as a garment or material. This study suggesting new expressions of what we already use but for long has been unchanged.

This investigation is centred on suggesting a new wardrobe concept of convertible hybrid garments; 2-in-1 designs. The proposed work is in other words, build on the transformative merging of one garment type to another. Through this intertwining, these become two parts of a whole, distorted to fit together in an upside-down position on the body. This alternative approach to garment creation, not only challenges the fundamental relationship between clothing, pattern making, and the body, but also aims to suggest the potential of implementing ‘reverse engineering’ methods, as a backdrop for the contemporary and versatile deconstruction. This work is foremost motivated by a sense of social and sustainable contribution to the field of fashion. Evoked by the prospect of encouraging interaction and providing the wearer more options on how to wear clothing, by proposing designs not fixed to one outcome. Hence, given the versatility of these hybrids, this project also advocates having fewer items of clothing, to bring about a more sustainable alternative to mass consumption.

The essay discusses the world of Narnia from a psychological point of view. It argues that for Lucy, visiting Narnia takes the form of a psychological journey that represents the realisation of her repressed desires. It is through this realisation that Lucy develops as a character.

Clothing, together with other bodily adornments, is a valuable tool for communicating loyalty, identity and status. The coded messages inherent in the interplay between garments, bodies and society play a fundamental role in political culture, and the early modern era was no exception. The example of Mary I of England and her wardrobe choices demonstrates precisely how useful this tool could be. Through examination of previously-unpublished warrants, information from Privy Purse records, contemporary accounts and portraiture, this thesis analyzes the contents of and changes in Mary I’s wardrobe through the course of her adult life. By examining what the queen wore and when, patterns emerge that correlate with important parts of her political strategies. The first queen regnant, Mary used her wardrobe as a vital tool in the construction of her identity and self-representation, and as a means of navigating through the political and domestic upheavals that threatened her authority. / A work discussing Mary Tudor (Mary I)'s use of clothing as a political tool in mid-sixteenth century England. Includes transcriptions of warrants from the wardrobe of the robes from 1547, 1557, 1558.

The interest of this work is found in the potential ways of constructinggarments and how form can be explored within that field.This work explores how one can use draping as a construction methodapplied on garments to change the traditional shape and to create new formand silhouettes. The possibility to create form by using two depending components is thefoundation and aim of this collection. It will embrace different qualities inmaterials and challenge traditional garments and the view on how we usuallyand suppose to wear these garments. Garments are dependent mostly on the body of the wearer in first hand, onecould say that this work challenges that order when the two pieces aredeveloped being dependent on each other in first hand. Through relationship of fastening and uniting materials I will explore thepossibilities within form and volume and push the expression within thebasic forms within a traditional wardrobe. My aim is to further investigate the possibilities within womens wear bylooking at material, color and silhouette through a deconstructed way ofdraping. A collection of seven outfits is the result of this work. The outfits willchallenge the field of construction and how we traditionally make garments.The shapes and expression will be based on the interaction between garmentsand the materials.

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This dissertation examines the theology of C.S. Lewis in light of the writings of Athanasius, Augustine, and Anselm. Specifically, it looks at the role that justice and mercy play in each of these theologian’s understanding of the atonement. It proceeds on the basis that Lewis does in fact have a specific, robust, and coherent understanding of the atonement, and that his theological anthropology and his understanding of sanctification are an outworking of his understanding of the atonement. Chapter 1 lays out Lewis’ theological orientation and his method. Chapter 2 engages with Athanasius, Augustine, and Anselm on the atonement, and it lays out the particular concepts that were crucial in their understanding of the atonement, namely the justice and mercy of God. It outlines the fundamental concepts that we find in seedling form in Athanasius and Augustine and that were brought to full fruition in Anselm. It also argues that Anselm’s satisfaction theory is best understood as grounded in the nature of God, rather than in Anselm’s feudal, Medieval context. Chapter 3 examines Lewis on the atonement, and it traces the concepts that Lewis uses to describe and explain Christ’s death and resurrection. While Lewis does not adhere to any one doctrine or understanding of the atonement, there is a common thread that unites the various pictures that he takes to be true representations of the atonement. Fundamentally, for Lewis, the atonement is about the restitution of proper order that was disrupted in the Fall. Chapter 3 examines which theories of the atonement Lewis accepts and which he rejects. It also traces his understanding of the atonement to his understanding of the nature of God, relying on the concept of justitia defined as proper order, which has its source in the nature of God himself. In so doing, it aims to show that Lewis’ later understanding of the atonement is fundamentally Anselmian. Chapter 4 engages with Lewis’ theological anthropology and his understanding of sanctification, focusing on the process of “good infection” and how Lewis envisions the spread of the new life made available after Christ’s act of atonement. Sanctification, for Lewis, like the atonement, is also fundamentally about proper order. This plays out in his theological anthropology largely in terms of humility and obedience to God. Finally, chapter 5 addresses Narnia specifically and traces the concepts of justitia and proper order throughout the series and aims to show that, by focusing on proper order, we can see how the series hangs together as a whole theologically as an outworking of Lewis’ understanding of the atonement. / Thesis / Doctor of Philosophy (PhD)

This dissertation investigates the processes and effects involved in the production of styles in contemporary Stockholm. Particular focus is given to materialization processes regarding gender and sexuality. It is an ethnographic study, organized around three different research methods: participant observation, semi-structured interviews and organic wardrobe studies, carried out during the duration of two years and mainly delimited to Stockholm, often focusing on but not limited to the queer-orientated downtown club scene. The study is centered on ten participants, but is also concerned with the events, situations and relations the participants become part of during this time. In this way, the analysis gives equal attention to the specificity of garments and the spaces and places of social interaction. Drawing on a combination of Judith Butler’s theory of performativity and Bruno Latour’s actor-network theory, it analyses how styles are produced and maintained through interactions. The concept of style operates as a tool of analysis, approaching the subject matter from three different perspectives: verbal communication and politics of naming, the wheres and whens of sartorial practices, and lastly bodily matters as a point of intersection, where styles are constituted as bodily materializations through gestures, movements and orientation in space. Furthermore, this thesis engages in an on-going discussion within fashion studies on how the articulation of matters regarding sexuality, gender and identity projects can be theorized through the concept of style. In this way, it also challenges and furthers the definition of this concept by proving its productive qualities through ethnographic fieldwork.

Uni form is an exploration into the act of getting dressed. The act of dressing or assemblage of dress is negotiated and explores how personal identity is constructed. My design research contributes to a current understanding of self, dress and social identity. I begin with an analysis of wardrobe as a personal collection and I propose that, in our everyday dress, much of what we choose to wear constitutes a uni form of one sort or another. Focusing on the shirt dress as an ‘ordinary’ everyday style of generic dress, I set out to experience the wearing of a personal uniform. What emerges from this research is a proposal that a uni form – a metaphoric garment – can meet the needs of everyday life in the postmodern urban metropolis.

Uni form is an exploration into the act of getting dressed. The act of dressing or assemblage of dress is negotiated and explores how personal identity is constructed. My design research contributes to a current understanding of self, dress and social identity. I begin with an analysis of wardrobe as a personal collection and I propose that, in our everyday dress, much of what we choose to wear constitutes a uni form of one sort or another. Focusing on the shirt dress as an ‘ordinary’ everyday style of generic dress, I set out to experience the wearing of a personal uniform. What emerges from this research is a proposal that a uni form – a metaphoric garment – can meet the needs of everyday life in the postmodern urban metropolis.