I samma takt som produktionen av kläder tilltar, ökar även medvetenheten kring dess miljöpåverkan. Många företag arbetar efter avtal, märkningar och uppförandekoder för att på så vis reducera påverkan, dock kan det vara svårt för konsumenterna att veta vad de faktiskt står för och betyder. Syftet med den här uppsatsen är att undersöka hur kunden ser på fast fashion-företagets miljöarbete, hur företaget själva ser på det, samt om kundens uppfattning går att förändra. Undersökningen är avgränsad till att undersöka företaget Gina Tricot som ett exempel på företeelsen fast fashion- företag. För att kunna analysera informationen används kommunikationsmodellen, där sändaren skickar ett meddelande genom bruset till mottagaren, för att senare få tillbaka feedback från mottagagaren. Den emiriska delen av arbetet består av en intervju, en enkätundersökning samt två dolda observationer. Intervjun genomfördes via mejl med Gina Tricots Hållbarhetschef Marcus Bergman. Enkätundersökningen består av ett flertal frågor kring Gina Tricots miljöarbete samt en informationstext om det här. Den dolda observationen genomfördes i två geografiskt olika butiker, där vi undersökte hur företagets miljöarbete kommuniceras i butiken. Av den insamlade informationen kan man se att kundens och företagets uppfattning om hur de arbetar med miljö skiljer sig åt. Skillnaderna kan bero på olika saker, men främst på brist i företagets kommunikation med sina kunder. / Program: Butikschef, textil och mode

The aim of this project is to design and craft sustainable fabrics according to slow fashion principles. Furthermore the intention is to develop these fabrics, to make them exciting and congenial for use as trouser fabric for skateboarders.

Under pressure is an expression of stress. It is about work becoming everything. It is about not being able to separate your self from your work. It is about carrying the office with you all the time.The result is a well kept together collection of garments ranging from commercial to experimental on the edge of not being wearable. / Program: Modedesignutbildningen

Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result. / Program: Modedesignutbildningen

Digitized by Kansas Correctional Industries

This work explores the relationship between body and garment in movement. The method for investigation this meeting is through geometrical shapes that are applied on three points on the body. When researching materials, mesh was the most interesting one in its way of responding to the movements and it was easily combined with other material, when combines the effect from the movement increased. The dialog of movement is depending on the space between garment an wearer. It is in the space that the restrictions and the possibilities are created. The shapes are lacking details of traditional garments and are far from the commercial fashion scene to take this work further more garment-like influences could be added, it might also make the work easier to grasp for the audience. / Program: Modedesignutbildningen

Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result. / Program: Modedesignutbildningen

This dissertation examines the acquisition of design techniques among Antwerp trained avant-garde fashion designers by focusing on the aesthetic, communicative, and moral aspects of creativity in design. This required drawing on 15 months of fieldwork in design classes and studio workspaces where student designers are socialized into particular ways of conceptualizing, translating, and constructing design forms. In analyzing these exchanges this dissertation develops methodological and analytical frameworks for ethnographically investigating the practice of design, itself. As such, this thesis develops a number of conceptual tools for describing how designers organize sociality through material and aesthetically designed forms. Thus, this dissertation offers new ways of understanding how the social effects of design forms are linked to the cultural theories and practices that produce them, while also describing the social life of Antwerp trained fashion designers.

The purpose of this study is to examine the impact of country of origin (COO) on the UK fashion industry, with specific reference to retail and wholesale brands. In this study, the fashion industry encompasses both manufacturing and branding perspectives. This qualitative study comprised 23 in-depth interviews with key informants from large-scale retailers, manufacturers and textile consultancy companies, thereby analysing the issues from an industry, rather than consumer, perspective. The key informants were chosen using a judgmental sampling approach, and the data obtained were analysed using a thematic approach. The notion of country of origin is deemed important because the existing literature suggests that COO, has been considered as an effective branding device with which consumers associate when evaluating the quality of the product and when making purchasing decisions. However, no research has examined country of origin from an industry perspective, and the findings in the UK context are limited in the existing literature. Consequently, this study contributes to the body of knowledge about the importance of COO, and its implication on retail and wholesale brands in the UK fashion industry. The findings of this research also have practical implications for manufacturers and retailers, informing the debate on the value of the 'Made in [...]' epithet, and how country of origin can be used as a branding strategy. This study demonstrates that country of origin is considered important in the UK fashion industry in terms of its strategic importance to organisations. Moreover, COO is manifested in different ways, depending on brand positioning, long-term strategic plan, expertise, brand history and values. Another finding that emerged as a key theme is the blurring of retail and wholesale brands. Thus, the study has found that retailers are becoming wholesale-oriented businesses by selling own label products through third party retailers, including online via pure-play retailers (e.g. ASOS), and concessions within department stores. This is being done to expose brands internationally, to develop a global recognition, as well as improve the brand image. Furthermore, wholesale brands are becoming retail-oriented in order to enjoy superior profit margins, to have control over the product merchandise and to increase customer loyalty. Finally, the study developed a typology of strategic action and implications of country of origin to include the blurring of differences whereby, for instance, brand name is used to promote country of brand origin by both retail and wholesale brands, however, how this manifests itself differs in the sense that retailers promote via sub-brand name, and wholesales have associations with company's name.

Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao Lavinnia Seabra Gomes.pdf: 4133155 bytes, checksum: 76db450d0f822c64c63bbf09e3d6a425 (MD5) Previous issue date: 2007-04-11 / This dissertation developed on the line of studies in Contemporaneous Processes of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts University, from UFG (Federal University of Goiás) resulted in plastic productions, were fashion and tecnics of figure, blend toghether forms, materials and images. The objective of this work, was concetrated on the matrixies creation, that didin t fall into the ordinary tradictional element, and could be applied to the clothing element, without loosing its main features or the question of the multi. The couttion linking some objects the concepts of protection, decency or tradictionally ornament related to fashion. The important factor in this research is highlight the possibillity of conceiving the figure impression in another type of support, in our case, 3 dimensional (clothes), and conceive those images trough electronic devices, without leavingout the multiplicity principles and impression. All the time we have been searching for another form of visual conception of figure between the mode and all of yours industrials tendences. So many ideas and questionings have come up as webecame more and more familiar with the process, and what is pointed to another series of creative utilization. Following that line of poetic study, owing particularity, what singled each student of art, thoes productions make o out experiences of world in something to be admirable or not, favoring each receptor of plastic produtions, or diferents interpretations what give to then the better understanding. / Esta dissertação desenvolvida na linha de pesquisa em Processos Contemporâneos de Produção de Imagens Visuais do Mestrado em Cultura Visual da Faculdade de Artes Visuais da UFG resultou em produções plásticas em que a moda e as técnicas da gravura se mesclam em formas, materiais e imagens. O objetivo deste trabalho esteve centrado na criação de matrizes que fugissem do tradicional da impressão em relevo e que pudessem ser aplicadas ao elemento roupa, sem perder a característica principal, ou seja, a questão do múltiplo. Em nenhum momento tem-se a preocupação em vincular a tais objetos os conceitos de proteção, pudor ou enfeite tradicionalmente relacionados à moda. O fator importante nesta pesquisa é destacar a possibilidade de conceber a impressão da gravura em outro tipo de suporte, no nosso caso, o tridimensional (roupa) e conceber as imagens através de equipamentos eletrônicos sem se esquecer dos princípios de multiplicidade e impressão. A todo instante buscou-se outra forma de concepção visual da gravura através da moda e de todos os seus aparatos industriais. Muitas idéias e questionamentos surgiram, à medida que se conhecia mais a fundo o processo de impressão da gravura e que instigavam a uma outra série de utilizações criativas. Partindo do pensamento de que a pesquisa poética possui uma particularidade que singulariza cada pesquisador artista, estas produções exteriorizam experiências de mundo em algo para ser admirado ou não, favorecendo a cada receptor das produções plásticas a interpretação quê melhor lhe convier.