There has been a medial success in Swedish fashion during the last years. If one studies these companies they tend to tell another story financially. Regardless of financial or medial success artistically driven fashion brands have been a big part of the development of Swedish Fashion. For artistically driven fashion companies the Artistic freedom tend to be the main driving force and the very reason for establishing their own brand. There is a need to balance between artistic and commercial interests, which could imply that designers need to design more commercially marketable garments to finance the conceptual department. Financial resources can create artistic freedom but bringing in wrong investors could do the opposite. The financial dilemma of gaining economic resources by designing more marketable garments makes the brand image loose credibility since it tend to rely on the artistic direction. Conclusion: Through out the study we have identified that there exist an internal conflict inside the artistically driven fashion designer. The corporate artist exists of the creative mind, which represents the intrinsic values that motivate and inspire the artist. To be able to run a fashion brand the artist also needs to have managerial and entrepreneurial skills to be able to develop. These two perspectives often collide and the designer needs to make some difficult choices. / Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing

In this work agricultural workwear garments will be deconstructed with the goal of challenging agricultural workwear expression and creating clothes that can be worn in multiple ways allowing for wider expression and ways of wearing in a smaller set of clothes. By opening up clothes from a farmer’s wardrobe to new ways of wearing and new garment types, placing them in new contexts, stereotypes and preconceived notions of farmers and rural culture will be challenged. The method used to deconstruct the garments will be based on working with ready made clothes and replicas and cutting them up, displacing the garments parts by allowing the wearer to enter the garment in new ways through alternative openings inspired by the unconventional zipper openings found on many vintage space- suits. Then making necessary adjustments to the construction to best allow the garment to allow for multiple ways of wearing. Colors and textures will be challenged as-well drawing inspiration from space suits and space travel. The relevance of the work is both personal and emotive through its reference points in agricultural workwear and space travel. Traditional shapes found in workwear will be challenged, trying to find new shape and silhouette with the application of deconstructionist methodology from Martin Margiela. The work also holds relevance from a sustainable perspective by prolonging the lifecycle of garments and discourage overconsumption with garments that fill up a wider purpose that otherwise would be served by multiple garments.

This report deals with the definition and meaning of garment. It explores how the meaning of a garment alters depending on how it is worn. Is the meaning of an garment somhow in the garment itself? By searching for new expressions in clothing by eliminat- ing parts and giving other a new purpose, the aim is to explore the aesthetic potential that occurs when two garment’s are incorporated. This is dealt with through a method that discusses the definition of an artefact. From a minimalistic point of view the es- sence of garments is explored through revealing what is underneath and exemplifying how the garments interact or affect each other. Through experiments I studied how to incorporate two garments in an natural and unforced manner. To find perfect balance in imbalance. As a conclution of my work i discovered that to create balance between two garments was to use the details discreatly and to focus on the small things. However I realised that the “perfect“ balance was not the aim i was striving for. Questions that has been discussed is how much does a garment need to be recognisable and how much does a detail need to be visable. As a method I see this as the starting point and there is more to be explored and developed. / Program: Modedesignutbildningen

This essay is about the act of wearing contemporary jewellery has as a way of communication between human beings. I investigate the act of decorating the body as an important and basic human need.  This essay investigates the relationship between gender, feminine culture, and decoration within the Western world, thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes. This investigation presents a brief historical review of the role that jewellery has been playing in the relations between the genders and the changes it has undergone in terms of cultural process over the last centuries. I introduce to the reader the idea of performing jewellery with the aim of to highlight the relevance that decoration on the body has as a way to construct our identity.  The post-structuralist theories about gender and identity made by the feminist philosopher Judith Butler (Gender Trouble 1990, Undoing Gender 2004), and some philosophical perspectives on material culture, are used to support my investigation, to postulate that jewellery pieces can be viewed or understood  us as ‘queer apparatus’… As a way to explore and experience  jewellery as a ‘queer apparatus’, I have chosen few examples of contemporary jewellery.

This practice-led research creates innovative menswear designs for formal white dress shirts, within boundaries of contemporary mainstream wearability. As a result of an historical analysis, a conceptual spectrum is developed to scope the possibilities of the contemporary white dress shirt, from the orthodox menswear shirt to the many variations of the women’s blouse. Within this spectrum for the white shirt, the possibilities for innovation are discussed in terms of a threshold position between the shirt and the blouse - a position that parallels that of the dandy figure who subversively confronts dress norms of the day. This position is then explored in relation to an acceptable/ ‘wearable’ aesthetic which I have labelled ‘Neo-Dandy’. White shirts from contemporary menswear designers are then examined relative to this aesthetic. In doing so, this examination highlights the white dress shirt as a garment that is ripe for experimentation. My own creative design process is then described as taking up the challenge of Neo-Dandy design innovation for the contemporary white dress shirt. On this archetypal garment, different styles and varying degrees of detailing were tested. A range of ‘concept shirts’ were produced, tested and documented, with each shirt succeeding to various degrees in achieving a Neo-Dandy aesthetic. Based on this range, a list of design principles for achieving this aesthetic are identified. The weighting is 60% for the design objects (a collection of men’s white dress shirts that explore wearability and design innovation within a Neo-Dandy aesthetic) and 40% for the design discussion (exegesis and supporting appendices).