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.

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.

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.

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Orientador: Álvaro Luiz Hattnher / Banca: Karin Volobuef / Banca: Orlando Nunes de Amorim / Resumo: Este trabalho propõe-se a rediscutir o conceito corrente de conto de fadas, tal como proposto por autores como Jolles (1976) e Propp (1983), a partir de um contraponto dessas teorias com as formulações de J. R. R. Tolkien em seu ensaio "Sobre histórias de fadas" (2006). Partindo dessa revisão, pretende-se demonstrar como As crônicas de Nárnia, de C. S. Lewis, pode ser lida como o que Tolkien denomina "história de fadas", pois a presença da oposição entre o "mundo real", com tempo e espaço histórico bem definidos, e o mundo maravilhoso ou "outro mundo" parece ser um fator decisivo para diferenciar um conto de fadas de uma história de fadas / Abstract: This research proposes to revisit the current concept of fairy tale as proposed by authors such as Jolles (1976) and Propp (1983), counterpointing those theories with the formulations of J.R.R. Tolkien in his essay "On Fairy-Stories" (2006). The aim is to demonstrate how The Chronicles of Narnia, by C. S. Lewis, can be read as a "fairy story" according to Tolkien, since the presence of an opposition between the "real world", with well defined time and historical space, and the wonderful world or "other world" seems to be a decisive factor to differentiate a fairy tale from a fairy story / Mestre

Textilindustrin har en omfattande negativ påverkan på miljön och konsumenters köpbeteende är en del av detta problem. Konsumenter påverkar mer än vad de är medvetna om genom vad de väljer att konsumera och hur mycket de inhandlar. Då kunden spelar en sådan stor roll i den faktiska miljöpåverkan väljer denna rapport att fokusera på kundbeteendet ur ett hållbarhetsperspektiv. Det finns ett tydligt gap mellan konsumenters attityd och beteende när det kommer till att konsumera kläder hållbart. Rapportens utgångspunkt är därför en studie av Hiller Connell (2010) gällande attityd-beteendegapet hos konsumenter när det kommer till just hållbar klädkonsumtion. Hiller Connell påvisar sex barriärer som hindrar konsument från att handla hållbara klädesplagg. Dessa hinder är konsuments kunskap och attityd gällande hållbarhet samt tillgänglighet av föredragna produkter, ekonomiska resurser, detaljhandelsmiljö samt rådande samhällsnormer. För att kunna undersöka detta gap och dess bakomliggande orsaker har data samlats in i genom garderobsanalys, som främst påvisar konsuments faktiska beteende. I kombination med en semistrukturerad intervju, som främst indikerar konsuments attityd till hållbar klädkonsumtion. Denna studie har genomförts på tio kvinnor i åldern 25 till 35. Analys av resultatet visar att barriärerna (Hiller Connell, 2010) även är påtagliga för denna studies respondenter. Det kan även konstateras att alla hinder är olika påtagliga för olika deltagare samt att typ av plagg påverkar detta. Denna studie finner att dessa hinder kan påverkas olika beroende på om plagg är miljömärkt, begagnat eller av bättre kvalité. Studien finner även ytterligare ett påtagligt hinder hos respondenter, nämligen deras eget engagemang till att konsumera kläder mer hållbart. / The textile industry has a negative impact on the environment and consumer behaviour when shopping for clothes is a part of this problem. Consumers affect more than they are aware of when choosing what and how much to consume when it comes to clothes. Therefore the way customers consume is a huge part of the impact the textile industry has on the environment. Because of this, the paper focuses on consumer behaviour from a sustainability perspective. It has been found that there is a gap between attitude towards consuming clothes that are sustainable and the actual behaviour. This paper draws on findings from a study by Hiller Conner (2010) that has studied the attitude-behaviour gap and have identified barriers that can affect it. These barriers include customer knowledge and attitude towards sustainability, availability of preferable products, customers economic resources, retail environment and social norms. In order to examine this gap and the reasons behind, data were collected through observations of consumers wardrobe to explore the actual behaviour when it comes to buying clothes. Furthermore, interviews and talking about the attitude towards their consumption of clothes were made. This study was made with the help of ten women between the age of 25 to 35. The findings shows that the barriers are in fact relevant. It is also found that they are not equally significant for all of the participants. Furthermore this study shows that the barriers are affected depending on what type of sustainable garment is consumed. As it is found a difference when buying garments that have eco-labels, secondhand or of better quality. This study also found an additional significant barrier among the respondents, their own engagement to consuming more sustainable clothes.

nÃo hà / O LeÃo, a Feiticeira e o Guarda-Roupa (1950), de C. S. Lewis, à uma tÃpica narrativa de fantasia. Assim, apresenta caracterÃsticas de forma e conteÃdo que tÃm sido tradicionalmente empregadas pelo gÃnero, entre elas o apelo a uma atmosfera medieval. A histÃria foi adaptada para o cinema de Hollywood em 2005 por Andrew Adamson, com tÃtulo homÃnimo. O objetivo principal desta dissertaÃÃo à discutir as estratÃgias utilizadas pelo diretor para produzir um blockbuster de aÃÃo no formato da clÃssica narrativa hollywoodiana, explorando os elementos fantÃsticos e medievais da obra. Parte-se da ideia de que a adaptaÃÃo, embora oriunda de um texto que ocupa um espaÃo perifÃrico no sistema literÃrio britÃnico, consegue se destacar no sistema cinematogrÃfico de Hollywood. A pesquisa tem carÃter descritivo, com abordagem qualitativa, que consiste na leitura da obra literÃria e do filme para analisar como a fantasia e o medievalismo sÃo configurados nessas narrativas. A anÃlise levou-nos a concluir que a adaptaÃÃo foi capaz de ressignificar os elementos da obra literÃria responsÃveis por sua marginalizaÃÃo. Como base teÃrica, apoia-se nos princÃpios dos estudos descritivos de traduÃÃo, sobretudo no conceito de reescritura, de Lefevere (2007), e nos pressupostos da teoria dos polissistemas, de Even-Zohar (1990). Os referenciais teÃricos ainda incluem Todorov (2010, 2006) e Propp (2006), para caracterizar a obra como uma narrativa de fantasia; Cecire (2009) e Hobsbawm (1997), para abordar a questÃo do medievalismo; Compagnon (1999) e Wellek e Warren (2003), para discutir o cÃnone literÃrio; e Bordwell (1985), para delimitar as propriedades do padrÃo narrativo clÃssico de Hollywood. / The Lion, the Witch and the Wardrobe (1950), by C. S. Lewis, is a typical fantasy narrative. Thus, its form and contents are shaped by characteristics which have traditionally marked the genre, such as the appeal to a medieval atmosphere. The story was adapted to the Hollywood cinema by Andrew Adamson in 2005 keeping the same title. The main goal of this dissertation is to discuss the strategies employed by the director to produce an action blockbuster in the format of the classical Hollywood narrative through the exploration of the fantastic and medieval elements of the novel. It starts from the idea that the film adaptation, although it comes from a text which occupies a peripheral position in the British literary system, manages to stand out in the Hollywood cinematographic system. This research is descriptive and has a qualitative approach, which consists of the reading of both the novel and the film to analyse how fantasy and medievalism are configured in these narratives. The analysis led us to conclude that the adaptation was able to resignify the elements of the novel which are responsible for its marginalization. The theoretical bases for this work are the principles of the descriptive translation studies, especially the concept of rewriting, by Lefevere (2007), and the premises of the polysystem theory, by Even-Zohar (1990). Theoretical references still include Todorov (2010, 2006) and Propp (2006), to characterize the novel as a fantasy narrative; Cecire (2009) and Hobsbawm (1997), to approach the matter of medievalism; Compagnon (1999) and Wellek and Warren (2003), to discuss the literary canon; and Bordwell (1985), to delimitate the properties of the classical Hollywood narration pattern.

This thesis focuses specifically on yoga clothing to explore the wardrobes of individuals who practice yoga within Northern Europe. This study explores yoga as an embodied practice connected to dress, uncovering the relationship between clothing and the body based on online ethnographic research. Wardrobe studies were carried out remotely during the COVID-19 pandemic producing a new approach to the field through remote wardrobe studies. The theoretical perspective of Erving Goffman analyses the participants and their wardrobes through the lens of dramaturgy. This perspective allows for the investigation into the behaviour of individuals practising online and in- person yoga classes compared to yoga at home. Viewing social life as a theatre performance to explore individual’s wardrobes and yoga clothing is a vital component of the study. The research demonstrates how individuals in a society constantly perform and how a wardrobe is an object that also performs. The findings suggest that yoga clothing, the body, and the wardrobe are intrinsically connected, providing rich information contributing to fashion studies.