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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

Factors affecting the Australian Position in International Fashion Design

January 2000 (has links)
Success in fashion design is important both in its own right and because it has positive influences on the culture of a country and because of the favourable ramifications it can have across many unrelated industries. This dissertation investigates the Australian fashion design industry and asks whether there is a place for a semi-autonomous industry regulator of the kind found in other countries. France is a natural choice as a model because on the one hand it has the most success and enjoys the highest prestige in international fashion design, and on the other it has a well-developed support and accreditation structure, the Federation Francaise de la Couture, du Fret-a-Porter des Couturiers et des Createurs de Mode. The Federation oversees the whole process, promoting and protecting innovation in the industry and laying down the criteria used in fashion accreditation. These observations led to the question, if a parallel fashion designers' organization were introduced in Australia, what are the chances it would be suitable and effective? To answer this question, interviews were conducted in Australia and in three European countries. The major systematic enquiry was based on a sample of 48 local industry people in key positions in media, commerce and education, who were encouraged to describe and evaluate the industry and to supply answers to a systematic survey document. Candour was promoted by the anonymity of the survey process. The major outcome in terms of evaluation of the industry was that for historical and structural reasons Australian fashion design is not characterized by a high volume of original work. Consequently it is not having much impact internationally and the upper echelons are not providing the basis for downward diffusion of ideas. If the standard (French) classification were applied to Australia, the bulk of the labels would be categorized at the lower end of the scale. The informants provided a strong consensus regarding the nature of the shortfalls including the undue emphasis given to derivative design, the lack of special support for young talent and the low priority given to the synergy between art and high quality craftsmanship. There was agreement that Australian fashion designers should not focus on product just for local consumers, because fashion in clothing is not central to the minds of the average Australian as it is for example in European countries. Fashion designers might be wise to exploit the position of Australia on the edge of the Asian subcontinent and the pool of potential design talent from other countries within the Australian population. By drawing from the new aesthetics emerging in Australia's pluralistic society, designers could easily be at the cutting edge internationally. They might showcase their work at overseas venues, although not necessarily, in the first instance, in countries like France. Although a full-scale federation-type organization might fail for want of a solid innovative industry upon which it might be based, a limited version of such a controlling body could well succeed. Its task would he to steer new directions in education which develops a pool of creative talent through master classes which focus on understanding original design, the importance of the manual aspect in design and the mechanisms of, and rewards stemming from diffusion. Sponsorship should be granted to endeavours by a collective of such talent to showcase designs abroad. Government funds should be redirected away from the promotion of a generic product to a fashion-designing paradigm emphasizing 'designer handwriting' as the value-added aspect. In addition to exploring these issues, this dissertation provides reflections on the nature of the design process and suggests ways in which fashion design and fashion design education might move to revitalize the industry.
22

Lean manufacturing and its impact on the role of industrial designers in Australia

Bohemia, Erik, Industrial Design, UNSW January 2002 (has links)
The aim of this research was to determine the extent of use, by Australian manufacturers, of lean manufacturing techniques, and the current and future implications for industrial designers. A survey was conducted to gather data on organisation demographics, the role of the industrial designer, production techniques and product development. The survey was distributed to 220 manufacturing organisations undertaking product development in Australia. The number of surveys returned was 134, representing a 60.9 percent response rate. The surveyed organisations represented a broad cross-section of Australian manufacturers by size, location and industry. Manufacturing organisations were categorised into three groups: lean manufacturers, emerging users of lean manufacturing and non-lean manufacturers. It was concluded that lean manufacturing is being adopted by Australian manufacturers and that lean manufacturing is impacting on the role of the industrial design. In general, the data obtained in this research confirms views expressed in the literature that describes current changes in the manufacturing industry. This literature suggests that design will become the next competitive 'weapon', and become a central part of organisational strategy. However, the data also suggests the design profession has still some way to go to adequately grasp its full professional potential, particularly in the area of product development management. The results indicate that industrial designers underperformed in five functional areas that could be considered fundamental to the service normally provided by industrial designers and they have not exceeded expectations in any of the functions included in the survey. It was found that overall, industrial designers were not regarded highly by organisations as a source of new product ideas. Another troubling finding was that industrial designers were generally not perceived as being suitable to manage product development groups. The results of this research could be used to guide educational institutions in regard to curricula for industrial design courses so that future graduates may more effectively fulfil industry requirements.
23

Misunderstood and mysterious : how design and designers are perceived by design professionals, design educators and the public

Smith, Gillian, gilliansmith@optusnet.com.au January 2005 (has links)
This study is focused on the field of design. It examines how people understand and perceive designers and the design professions. The study draws on a phenomenologically informed interactive perspective to provide a methodological approach to understanding what the perception of design is. The relationships between design and occupational prestige, professional status and consumerism are the principal themes that run throughout the research, but the analysis also draws on the data obtained to profile the demographics of designers, particularly in relation to income, gender and education. The research included an occupational prestige assessment, completed by 304 participants from Swinburne University and the University of the Third Age, using multidimensional scaling analysis to provide a mapping of the occupations. Overall, the results indicated that participants find it difficult to differentiate between individual design occupational specialties, but that they see design as distinct from proximate occupations such as artist and architect. The results also confirmed the premise that occupational prestige is multi-dimensional and that raters will use a variety of constructs (including service to the community, not just education and income), to determine their understanding of the perceived social standing of occupations. The findings were further explored within three focus group discussions involving both design and non�design students from Swinburne University. The results indicated that most participants, including the design students, knew relatively little about design and that what they did know was often skewed by media depictions and stereotypes. The final research stage was the development of a mail-out survey questionnaire that was distributed to design educators, members of the Design Institute of Australia and to a non-design, public group. Seven hundred and fifty three questionnaires were completed. As expected the results showed that there are differences between the level of knowledge and understanding of the three participant groups. The lack of knowledge of design and designers, particularly by the public participants, was quite evident, with the two design groups tending to rate design as more professional and of greater importance to society and the economy than the public group. Analyses of the incomes and occupational situations of the design respondents revealed that the designers generally worked in a unique environment characterised by low to middle incomes and very small organisations (except for those in the education sector). Gender differences between income and the positions held in an organisation were also found and would be a useful area for further investigation. The study was useful in that is served to clarify and quantify issues that have been raised in the literature about the poor understanding of design and designers. It provides a platform of information that could be further used in future studies to make more detailed examinations of specific issues.
24

Native Designers of High Fashion: Expressing Identity, Creativity, and Tradition in Contemporary Customary Clothing Design

Metcalfe, Jessica RheAnn January 2010 (has links)
American Indian traditional art forms have been reincarnated by contemporary Native designers and placed on human bodies in the form of haute couture. This project examines culture and identity through a historical and sociocultural analysis of contemporary Native American clothing design. This project focuses on the use of clothing design and adornment to promote cultural traditions and maintain a `Native' identity. I equate this communicative use of design with the traditional role of storytelling: it allows Native designers to express, interrogate and subvert notions of Indianness; to create and perpetuate cultural traditions; to enhance aesthetic aspects of dress design; and to build and maintain community.This project explores the world of Native high fashion, and provides a cultural contextualization and analysis pertaining to identity, creativity, and tradition. I hypothesize that these contemporary designers continue the long practice of incorporating the new with the old, and, in effect, creatively carry on their cultural traditions. Whether they update Native clothing styles of the 1800s, or Indianize contemporary fashion, these designers explore how modern cuts and materials can be blended with traditional cultural design concepts and symbols to create unique, expertly constructed, artistic, and highly valued garments. These artists have taken up new materials to display their traditional art forms in innovative ways to uphold and maintain their unique cultures, and to celebrate their heritage by educating a non-Indian buying public.Using an interdisciplinary approach, I attempt to gain an insider's understanding of Native fashion by interviewing principle actors in the industry, by observing and participating in cultural and trade events, and by researching its history in archived records, stories and garments. The goal of this research is to add to the sparse literature on Native clothing, art, creativity, and identity by providing the only comprehensive critical scholarship on contemporary Native American fashion design.
25

Factors affecting the Australian Position in International Fashion Design

January 2000 (has links)
Success in fashion design is important both in its own right and because it has positive influences on the culture of a country and because of the favourable ramifications it can have across many unrelated industries. This dissertation investigates the Australian fashion design industry and asks whether there is a place for a semi-autonomous industry regulator of the kind found in other countries. France is a natural choice as a model because on the one hand it has the most success and enjoys the highest prestige in international fashion design, and on the other it has a well-developed support and accreditation structure, the Federation Francaise de la Couture, du Fret-a-Porter des Couturiers et des Createurs de Mode. The Federation oversees the whole process, promoting and protecting innovation in the industry and laying down the criteria used in fashion accreditation. These observations led to the question, if a parallel fashion designers' organization were introduced in Australia, what are the chances it would be suitable and effective? To answer this question, interviews were conducted in Australia and in three European countries. The major systematic enquiry was based on a sample of 48 local industry people in key positions in media, commerce and education, who were encouraged to describe and evaluate the industry and to supply answers to a systematic survey document. Candour was promoted by the anonymity of the survey process. The major outcome in terms of evaluation of the industry was that for historical and structural reasons Australian fashion design is not characterized by a high volume of original work. Consequently it is not having much impact internationally and the upper echelons are not providing the basis for downward diffusion of ideas. If the standard (French) classification were applied to Australia, the bulk of the labels would be categorized at the lower end of the scale. The informants provided a strong consensus regarding the nature of the shortfalls including the undue emphasis given to derivative design, the lack of special support for young talent and the low priority given to the synergy between art and high quality craftsmanship. There was agreement that Australian fashion designers should not focus on product just for local consumers, because fashion in clothing is not central to the minds of the average Australian as it is for example in European countries. Fashion designers might be wise to exploit the position of Australia on the edge of the Asian subcontinent and the pool of potential design talent from other countries within the Australian population. By drawing from the new aesthetics emerging in Australia's pluralistic society, designers could easily be at the cutting edge internationally. They might showcase their work at overseas venues, although not necessarily, in the first instance, in countries like France. Although a full-scale federation-type organization might fail for want of a solid innovative industry upon which it might be based, a limited version of such a controlling body could well succeed. Its task would he to steer new directions in education which develops a pool of creative talent through master classes which focus on understanding original design, the importance of the manual aspect in design and the mechanisms of, and rewards stemming from diffusion. Sponsorship should be granted to endeavours by a collective of such talent to showcase designs abroad. Government funds should be redirected away from the promotion of a generic product to a fashion-designing paradigm emphasizing 'designer handwriting' as the value-added aspect. In addition to exploring these issues, this dissertation provides reflections on the nature of the design process and suggests ways in which fashion design and fashion design education might move to revitalize the industry.
26

Sustainable design methodology for industrial designers within an organization with no environmental policy

Windham, Jerrod Bradley, January 2007 (has links) (PDF)
Thesis (M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (ℓ. 104-108)
27

Lean manufacturing and its impact on the role of industrial designers in Australia /

Bohemia, Erik. January 2002 (has links)
Thesis (Ph. D.)--University of New South Wales, 2002. / Also available online.
28

Designer-client relationships : relevance of service quality during the designer selection process /

Smith, Malory Leanne. January 2004 (has links)
Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 57-61). Also available on the Internet.
29

Robert Edmond Jones poetic artist of the new stagecraft /

Black, Eugene Robert, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1956. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [261]-275).
30

Designer-client relationships relevance of service quality during the designer selection process /

Smith, Malory Leanne. January 2004 (has links)
Thesis (M.S.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 57-61). Also available on the Internet.

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