Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Engenharia de Produção, Florianópolis 2018. / Na relação de atender os desejos do consumidor, obter o sucesso do produto e alcançar a lucratividade, o designer ainda tem de adaptar-se às exigências de mercado para uma orientação sustentável. Assim, com este estudo, objetivou-se identificar elementos que agregam valor ao produto de vestuário de moda sustentável sob a perspectiva do designer, a fim de propor ao profissional, referências de elementos para o desenvolvimento de produto. Com base nos objetivos, classificou-se esta pesquisa como exploratória-descritiva. Para tanto, este estudo foi desenvolvido em três etapas: a pesquisa bibliográfica, o levantamento de dados, por meio da entrevista semiestruturada, e uma análise comparativa. A análise quantitativa decorreu das categorizações provenientes da aplicação do método de análise de conteúdo e pelo cálculo do coeficiente de correlação de Spearman. E a análise qualitativa deu-se pela análise das narrativas dos entrevistados. Desse modo, observou-se entre os designers a predominância do sexo feminino, de 21 a 40 anos, empreendedores individuais ou societários, que tinham como motivação para a sustentabilidade questões de âmbito pessoal ou profissional. Os designers compreendem a sustentabilidade nas dimensões ambiental, social e econômica, sendo que alguns trazem, ainda, a dimensão cultural para sua conceituação. Quanto à aplicação, houve enfoque para o ciclo de vida do produto, além das dimensões ambiental e cultural. Já o princípio de maior destaque, que norteia os designers no desenvolvimento do produto, é o slow fashion. As cadeias de suprimentos seguem uma estrutura tradicional, com ajustes devido às restrições de matéria-prima, e a terceirização é uma realidade em algumas etapas de produção. O produto de vestuário de moda sustentável possui bom desempenho financeiro, boa aceitação do consumidor e os elementos de valor com maior aparição foram a eficiência, estima, ética, estética e espiritualidade. Entre os diferenciais do produto, a estética é a mais apontada. Além disso, a região pesquisada apresentou-se favorável para a atuação de negócios sustentáveis devido ao estímulo da economia criativa e de movimentos sustentáveis na moda. O que permite concluir que há engajamento no discurso dos designers, todavia, os desafios no setor da moda demandam de mudanças efetivas orientadas ao comportamento de consumo para alcançar um desenvolvimento mais sustentável. / Abstract : In order to attend the costumer wishes, achieve product success and gain profitability, the designer has yet to adapt to market requirements for sustainable guidance. Thus, with this study, the objective was to identify elements that add value to the product of sustainable fashion clothing from a designer's perspective, aiming to come up with references of elements for product development to the professional. Based on the objectives, this research was classified as exploratory-descriptive. In this regard, this study was developed in three stages: the bibliographic research, the data collection, through the semi-structured interview, and a comparative analysis. A quantitative analysis resulted from the categorizations from the application of the content analysis method and control of Spearman correlation coefficient. And a qualitative analysis was given by the analysis of the interviewees narratives. Therefore, among the designers was observed female predominance of 21 to 40 years, individual or corporate entrepreneurs, whose motivation for sustainability was personal or professional. The designers understand sustainability in the environmental, social and economic dimensions, and some also bring the cultural dimension to its conceptualization. As for the application, there was focus for the product life cycle, besides the environmental and cultural dimensions. The principle of greater prominence, that guides the designers in the development of the product, is the slow fashion. Supply chains follow a traditional structure, with adjustments due to raw material restrictions, and outsourcing is a reality in some stages of production. The product of sustainable fashion clothing has good financial performance, good consumer acceptance and the most valued elements of value were efficiency, esteem, ethics, aesthetics and spirituality. Among the differentials of the product, aesthetics is the most pointed. In addition, the region researched was favorable for the performance of sustainable businesses due the creative economy stimulus and sustainable movements in fashion. This allows us to conclude that there is engagement in the designers' discourse, however, the challenges in the fashion industry demand effective changes oriented towards consumer behavior to achieve a more sustainable development.

Vi går Butikschefsprogrammet med inriktning mot mode och textil och har valt att utarbetaen affärsidé. Uppsatsens ämne är till viss del redan givet i och med vår utbildning,där arbetet ska ha en inriktning mot detaljhandeln.Idag befinner sig modedesigners på en tuff marknad, där konkurrensen är hård och detkan vara svårt att etablera sig på den svenska modemarknaden. Oetablerade designersefterfrågar därför en tjänst som hjälper dem med arbetet som tillkommer runt designprocessen.Marknadsföring och försäljning av deras alster anser de vara en av de svårastebitarna att själva kunna hantera.il NuovoiiiKlädkedjorna dominerar modemarknaden, men trenden går mot ett allt mer personligtmode, vilket gör att vi anser att det finns en lucka på marknaden. Därför syftar uppsatstill att undersöka om det finns en potential att starta upp en butik i Göteborg, som säljeroetablerade designers alster som bidrar till originalitet och mångfald inom modeindustrin.Den affärsidé vi har utformat grundar sig därför på att vi som ett detaljistföretagska tillhandahålla design från oetablerade designers och förmedla den till konsument. Vivill på det sättet ta vara på all den talang som finns hos Sveriges modedesignsskolor. Dåvi anser att det finns en allt för dålig koppling och integration mellan näringslivet ochden akademiska världen.I empirin har vi använt oss av kvalitativa intervjuer med modedesignstudenter på Textilhögskolan(THS) i Borås, för att skapa en bild av hur de uppfattar sin nuvarande situationoch framtid. Det här för att vi ska kunna utveckla vår affärsidé i linje med derasönskemål. Vidare har vi genomfört telefonintervjuer för att skapa oss en bild av fastighetsmarknadeni centrala Göteborg. Vi har även använt oss av en kvantitativ metod ioch med en marknadsundersökning som vi genomfört i vårt valda område, i syfte atttesta vår potentiella målgrupp och om det finns ett intresse för vår idé.Resultatet av våra frågeställningar visar att både designers och konsumenter har en positivuppfattning om och visar ett intresse för vår affärsidé. Konsumenterna upplever attdet saknas unika plagg på marknaden och kan tänka sig att handla alster från oetableradedesigners. Vidare anser modedesignstudenterna att det saknas en distributionskanal,som kan sälja deras designade kreationer och som har en förståelse för hur de vill verkaoch bli exponerade på modemarknaden. / Program: Butikschefsutbildningen

Based on the notion that instructional design is a goal-directed problem-solving activity, this study seeks to describe and compare the ways that instructional designers organize and utilize problem information in making design decisions. Research in areas such as architectural, computer software and engineering design suggests that the design process involves identification and selection of a variety of elements from a large number of possible configurations. Designers tend to decompose design problems into smaller sub-problems which can be solved separately. Little is known about how problem information is used by instructional designers, but it is likely that the instructional design process is similar to design in other domains. Participants who had a minimum of five years of instructional design experience in a variety of settings accessed information contained on individual note cards in order to develop a tentative solution to a problem involving training for librarians. The data provided by videotapes of the think-aloud sessions was analyzed to determine which information was selected, the sequence in which the information was accessed, and the i strategies used to acquire the information and use it in designing a solution. Results indicated that certain categories of information, particularly information about the learner, l skills to be trained, time for training and available resources, were accessed more than others. Designers also tended to access the information in similar sequences. The descriptions provided by this research may help to achieve a better understanding of the instructional design process. Once we know how designers organize the process, it will be possible to track the development of instructional design expertise. / Ed. D.

This study was framed by the question, How is creativity integrated into the design process of apparel textile designers? A qualitative approach was used to explore the integration of creativity in the design process of two designers in the field of clothing and textiles. The personal experiences of a weaver and a costume designer were shared with the researcher through interviews, participant observation, logs, and document/visuals. Data were analyzed by a method of coding and categorizing. Comparative analysis was conducted on the studies of the weaver and the costume designer. A comparative analysis was done among the findings of the two apparel textile designers and from the review of the literature. First, steps of the design process as related to creativity were explored. The design process model stated by Koberg and Bagnall (1981) was used to analyze and discuss the findings. It was found that the apparel textile designers' process included the steps of acceptance, analysis, definition, ideation, idea selection, implementation, and evaluation. Many themes emerged from the data for each of the steps of design. Amabile's (1996) three components of creative performance (domain-revelant skills, creative-revelant skills, and task motivation) were used to examine and discuss the creativity of the weaver and the costume designer. It was found that the design process acted as a framework, and creativity allowed for the generation of new ideas and outcomes in the designer's work. The study of apparel textile designers, their individual design processes, and creativity serves to expand the body of knowledge of the design process and creativity related directly to the textile arts and to aid in the development of methods in design education. / Master of Science

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.

No description available.

Thesis (M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (ℓ. 104-108)

Thesis (Ph. D.)--University of New South Wales, 2002. / Also available online.

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.

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.