A atualidade é marcada pela velocidade de informações e maior contato social promovido pela facilidade e acessibilidade das mídias digitais e pela influência considerável na criatividade dos alunos de cursos superiores em moda. A construção do conjunto de conhecimentos para o processo criativo na área de moda é o tema abordado nesta pesquisa e objetiva colher dados de quais informações os estudantes acessam e como lidam com esse processo a fim de construírem seu repertório para a pesquisa. Para isso foram feitas análises bibliográficas dos processos de criação em artes, design e moda; da influência das mídias digitais; e do estudo de caso dos alunos de Design de Moda da UTFPR-Apucarana. Este trabalho visa contribuir para o processo de criação e consequentemente o desenvolvimento de produto de moda inovador. / Today is considerably marked by the speed of information and greater social contact promoted by the facility and accessibility of the digital media and the considerable influence on the creativity of students of higher education courses in fashion. The construction of the set of knowledge for the creative process in fashion, is the topic of this research and aims to collect data from which students access information and how to deal with this process in order to build their repertoire for research. Through bibliographic analysis of the creation processes in arts, design and fashion, the influence of digital media and the case study of students of Fashion Design UTFPR-of Apucarana. This work aims to contribute to the process of creation and consequently the product development of innovative fashion.

Este trabalho científico refere-se à pesquisa e ao levantamento de informações de caráter bibliográfico sobre aspectos interdisciplinares de cunho social que interagem com a moda, aborda então parte da multiplicidade de assuntos relacionados à mesma, como a relação social existente por meio da mesma: identidade, pertencimento, imitação/diferenciação, comunicação existente na moda, a importância da marca como ferramenta social. Partindo deste contexto da relação moda sociedade - indivíduo, inicia-se uma reflexão sobre a influência que a moda possui sobre a sociedade, ao atingir diretamente o gosto individual. Oferecendo sentidos psicológicos, culturais e comportamentais ante ao coletivo, ao ponto de carnificar o design ao imposto pelo ambiente em questão, por um impulso adaptativo a fim de obter a socialização. Desta feita, a moda também está atrelada a constante insatisfação, uma vez que o mundo vive repentinas alterações, em todo o tempo, até muitas vezes mútuas alterações. Sendo assim, apresenta-se como um forte e importante meio de comunicação, que transmite significados pessoais e sociais adicionados a aspectos funcionais, por meio, então, da presente revisão bibliográfica pautada na temática referente à moda como ferramenta de socialização, comunicação, identidade e pertencimento. / This work refers to scientific research and information gathering bibliographical interdisciplinary aspects of social interacting with fashion, then part addresses the multiplicity of issues related to it, such as social relationship existing by same: identity , belonging, imitation / differentiation, communication existing in fashion, the importance of branding as a social tool. From this context of relative fashion - society - individual, begins to reflect on the influence that fashion has on society, to directly reach individual taste. Offering senses psychological, cultural and behavioral compared to the collective, to the point carnificar design imposed by the environment in question, by an impulse to obtain adaptive socialization. This time, fashion is also linked to constant dissatisfaction, since the world is experiencing sudden changes, all the time, often to mutual changes. Thus, presents itself as a strong and important means of communication that transmits personal and social meanings added to functional aspects, by then, this literature review guided by the thematic stylish as a tool of socialization, communication, and identity belonging.

A presente pesquisa estuda arte e moda buscando relacionar as duas áreas de conhecimento por meio das teorias interdisciplinares. A parte principal da pesquisa se concentra no estudo de três atos interdisciplinares ocorridos entre os artistas contemporâneos Stephen Sprouse, Takashi Murakami e Vanessa Beecroft produzidos em parceria com Marc Jacobs, diretor criativo da Louis Vuitton. Esses casos de estudo foram selecionados levando em conta o encontro entre moda e arte que busca enfatizar a ação benéfica da arte no produto de moda e da moda no campo da arte. A partir desses casos são levantadas questões pertinentes aos campos da arte, do design e da moda, evidenciando a troca entre eles, em que permeiam a complexidade que demanda um processo integrativo. Há interesse em investigar a qual tipo de interdisciplinaridade cada ato interdisciplinar atende, bem como estudá-los sob um olhar filosófico, sociológico e também sob algumas teorias da arte. Entende-se que o estudo interdisciplinar da moda relacionado a outras áreas concorre para formalizar a pesquisa neste campo. / This research studied art and fashion trying to relate the two areas of knowledge through interdisciplinary theories. The main part of the research focuses on the interdisciplinary study of three acts occurring among contemporary artists Stephen Sprouse, Takashi Murakami and Vanessa Beecroft produced in collaboration with Marc Jacobs, creative director of Louis Vuitton. These cases were selected taking into account the encounter between fashion and art that emphasizes the beneficial action of the art in fashion product and fashion in art. From these cases are raised issues pertaining to the fields of art, design and fashion, showing the exchange between them, in which permeate the complexity that demands an integrative process. There is interest in investigating which type of interdisciplinarity meets every act and study them under a philosophical, sociological look and also under some theories of art. It is understood that the interdisciplinary study of fashion related to other areas contributes to formalize research in this field.

Designers have recently become increasingly involved with small-scale producer communities around the world, mostly in the southern hemisphere, and this increase has highlighted the significance of these encounters in the creation of economic and social opportunities for those peoples. This study identifies that, however, these encounters present challenges and imply ethical responsibilities that current design methodologies fail to embrace in their long-term goals. This research investigates the interaction between designers visiting local producers whose livelihood is deeply dependent not just on the natural environment and their local culture but also on the process of fabrication. This thesis proposes a new methodology to guide designers and producers through a reflective process of social change in producer communities. This methodology derives from a combination of activity theory and the capability approach to wellbeing applied within design and producer community practices. The aim is to support a dialogical and holistic design approach to this kind of cooperation, as well as to endorse research and professional practice in the field of design for social change. This research seeks to break new ground by generating perspectives that support both designers and local producers in tackling and resolving issues of individual and collective wellbeing. The research draws on interviews with designers working with local producers in different countries. In addition, the author presents her own experiences of researching and working with Amazon rainforest rubber-tapping communities which have adopted new production methods in order to acquire new capabilities and help conserve their environment. Two case studies illustrate the reflective methodology applied to the designer and producer interactions within social innovation and entrepreneurship. But it is fundamentally the materiality of the rubber, and the revelation of the interdependences within and without the locality, that form the framework of this thesis.

Traditionally, trademarks were considered as convenient tools for source identification, and were granted legal recognition on this premise. However, more recently, trademarks have evolved in a new yet challenging medium as an effective tool for both corporate and social communication. The changing nature of trademarks and the subsequent emergence of modern trademark functions have prompted legal change within the European Union. Whilst this result is not in itself surprising, the approach adopted within the EU for the integration of the modern functions into the European trademark system has raised justifiable concerns on whether the balance of the trademark system has been disrupted. Given the dilemma, this thesis aimed to evaluate and critique the current system for modern trademark protection in Europe, and to propose change accordingly. To achieve this objective, the thesis used the luxury fashion industry as an analytical tool capable of reflecting accurately the various dimensions of the modern functions, particularly those aspects which are often overlooked within the legal spectrum. Only when the modern functions were fully comprehended, a proposal for a sound, balanced system for protection which takes into account the interests of all players in the market became plausible. Using an interdisciplinary approach, the thesis showed that the significance of trademarks lies within its communicative value which in turn has three dimensions; brand-consumer communication, consumer-consumer communication, and consumer-public communication. The effective protection of the modern functions necessitates the recognition of all these three facets. The thesis argued that theoretically, the protection of the brand-consumer communication dimension can be normatively justified based on a misappropriation ground through a limited, well-articulated anti-freeriding provision. In practice, Article 5(2) if interpreted in the light of the free-riding rationale suggested, can provide sufficient safeguards for the protection of brand-consumer communication. While such approach may simultaneously advance the communicative interest of some consumers (consumers of the particular brand), it falls short from protecting the broader public interest in communicating through trademarks. To fully preserve the other dimensions of trademark communicative, an effective expressive use defence which preserves the right of the public to transform, act on, criticise, resist, or challenge traditional brand meanings is crucial. Conclusively, disregarding any of these dimensions, which is regrettably the case now, will necessarily disrupt the balance of the trademark system and will simultaneously empower brand owners to manipulate consumer demand.

Scoliosis of the spine is defined as a side-to-side deviation from the normal frontal axis of the body resulting in body asymmetry, and as a complex, three-dimensional and multifaceted deformity, not only affects a female adolescent’s appearance - fit, usability and appearance of clothing - but can also compromise her health and ability to function. Scoliosis affects at least 2.9% of the population in Greece, appearing particularly among children aged 8-14 years, and more frequently in girls (9 girls for 1 boy). This study traces previous initiatives and current provision for clothing people with divergent body figures, exploring issues at the intersection of human anatomy and fashion, while it takes place in Greece, starting with measuring procedures specifically adapted for body asymmetry that comply with the appropriate code of ethics. External body measurements provide non-invasive evaluation of changes in external asymmetry due to scoliosis, while analysis of the measurements related to the trunk can document the asymmetry arising from the different types and degrees of spinal curvature, providing a 3D classification of scoliotic deformities. Both right and left body halves of 75 females aged 16-22 years of age, diagnosed with Adolescent Idiopathic Scoliosis (AIS), are measured in order to register their different body shapes and to classify them in different scoliotic groups, according to the magnitude and type of their scoliosis. The asymmetric basic pattern blocks derived from the median body measurements for each scoliotic group will be more tolerant of bodies with scoliosis, providing a better garment fit than conventional symmetrical patterns. These new ‘blocks’ will have the potential to be used in mass production, after the development of sizing systems based on body asymmetry, whereby an ‘aesthetic’ and an ‘ethical’ dimension in design could be then incorporated. Applying auto-ethnography, as well as using participant observation and interviewing methods, this research will help gain a deeper understanding of the culture and the needs of the specific target group. Future challenges relate to design perspectives of fashionable clothing for females with non-standard body dimensions, with particular emphasis on scoliosis, having potential for wider application in mass customised apparel for scoliosis.

M.Com. (Marketing Mangement) / The fashion industry consists of two components: creating and developing a new product, and marketing the product. This process is repeated on four levels: raw materials, manufacturing, retailing, and marketing. It is important for the people in the fashion industry to know about every level as they are interrelated. The fashion designer should for example understand the importance of designing and selling garments, and what the consumer looks for in a garment. The fashion marketer should know what happens to the garment before it arrives at the store, so that it will be possible to make wiser marketing decisions. The fashion editor should know every aspect of the garment before starting a marketing campaign. It is important for the people in the fashion industry to understand the consumer and his needs.' Unfortunately, very little information is available in the industry about consumer demand, and satisfying the need ofthe consumer. AIM: The main purpose of this study is to determine whether there is a shift of emphasis to a more user friendly fashion market. Therefore this is an attempt to pin down current trends in fashion marketing, trends which are highly changeable for a . variety of reasons. However, it must not be seen as a prediction of the future of fashion marketing as such for the next decade. This should be seen as an attempt to establish whether the marketer, and his perception ofcustomer needs, playa more important role than the customer and his actual needs. The question which arises is whether fashion is created because of the customer need or does the designer create a fashion for which the customer the develops a need. It is therefore necessary to determine whether trends created by designers, marketers and editors create a need amongst customer. PROCEDURE: Fashion designers, -marketers, and -editors were personally interviewed to obtain information regarding their marketing strategies, target market, and especially their success in satisfying their consumers' needs. Nearly thirty questionnaires consisting offour sections ofmarketing in South Africa were completed by designers, marketers, and editors, aged 22 to 55. RESULTS: The conclusion can be made the shift of emphasis in fashion marketing has not taken place. The consumer together with the designer, marketer end editor play an important part in the fashion world. Fashion is created for which a customer then develops a need.

M.Tech. / My practical and theoretical research is informed by Johannesburg, the city in which I live. My thesis is positioned within postcolonial academic and theorist Homi K. Bhabha’s theory of a “Third Space” and within South African academic, Colin Richards’ (In: Enwezor 1997:234-235) theory of a graft that operates within an enculturated semiosphere. In this instance, I identify spaces in which a graft operates in the form of two examples: garments designed by Strangelove and Stoned Cherrie and selected suburban boundary walls in Parktown West, Westcliff, Houghton, Melville and Emmarentia. These two examples are used to argue whether a graft ‘takes’ to ‘open out’ a space for cultural difference or whether it does not ‘take’, thus closing off space. I understand my examples as hybrid forms and manifestations of identities in a process of re-definition in the context of postcolonial Johannesburg. My practical work explores my hybrid identity in my lived context. The artworks are constructed through a similar process to that of a fashion designer by grafting diverse elements. The visual references used in my artworks are informed by the boundary wall and meaning is incorporated by selecting diverse materials to construct my artworks. My practical work therefore ties together the two examples that I use and informs my art-making process.

From the clothing theory, it is evident that the mass media as generalised “other”, dictates the opinion of what is acceptable and not acceptable regarding fashion. The role that the mass media play in the clothing consumer’s purchases, and more specifically the decision-making process surrounding fashion products, cannot be underestimated. From a social-cultural and aesthetic point of view, it can be argued that culture or sub-culture can play an important role in the aesthetic ideal of beauty of consumers. It is suggested that consumers of different cultural backgrounds have varying beliefs about what is defined as “beautiful” in each of their cultures. Fashion magazines in South Africa largely convey a global appearance ideal, but individuals often tend to also evaluate their appearances against the cultural or sub-cultural beauty ideal in which they reside. Cultural appearance standards in the form of skin colour, hairstyles, body, style, dress, and cultural artefacts (such as accessories) may differ among different cultures and sub-cultures (Craig, 1991). Magazine marketers should thus aim to provide a specific targeted consumer group with a fashion magazine that contains content that satisfies their particular sub-cultural aesthetic needs, personal appearances and standards. People across cultures have the need to compare themselves to others, and with the focus on fashion, appearance is evaluated and compared by the targeted consumers on the basis of either cultural factors or personal factors (Lennon, Rudd, Sloan&Kim, 1999). Fashion serves as a generalised “other” against whom a person can compare him- or herself with. The targeted consumers may not engage in comparison if the appearances of fashion models used in fashion magazine advertisements are too different from the person’s own appearance and standards. It seems that the importance of the above mentioned factors in the decision-making process of consumers regarding fashion products and fashion magazines in particular, have not yet been fully realised in South Africa by magazine marketers and the advertising industry. The women in the Mzanzi Youth sub-segment, serving as the target market for this study, fall under the Black Diamonds consumer group, which is one of the most important up and coming consumer groups in South Africa. It is apparent that this consumer group has a lot of potential and could reap rewards if targeted successfully, yet there is not a fashion magazine that is known of in South Africa that specifically caters for them. Unfortunately little is known about their beauty standards and the appearance of a beauty ideal that they would prefer to compare themselves with, and fashion magazines are therefore not able to fully tap into this potential market. The Purpose of this study was therefore to explore and describe the women in the Mzansi Youth sub-segments’ social comparisons and reflected appraisals of fashion magazine images. It is envisaged that the results of this study would contribute to fashion magazine editors’ and marketers’ understanding of this market’s beauty standards and preferences for beauty ideals that can serve as a generalised “other” in social comparison, in such a way that it can contribute to a positive self-image and an interest in, and intention to buy a specific fashion magazine or the fashion products that are advertised. The theoretical approach to the study included a literature review on fashion, the consumer and the role of culture, which include a discussion on fashion magazines and fashion magazine advertisements or images. The literature also covered the role of cultural beauty ideals and aesthetics in self-esteem. In order to address the problem, a cultural perspective and the theory on identity and social identity were combined with the theory on social comparison, and serves as a theoretical perspective, or point of departure for the research, while also directing the research objectives. The unit of analysis for this study was young adult black women in South Africa (between 18 and 24 years of age), in the Mzanzi Youth sub-segment within the Black Diamond consumer group. A nonprobability sampling technique was employed. The sample for the study was purposive resulting in the use of the snowball sampling method, with 200 respondents having completed a self-administered questionnaire. The study showed that the women in the Mzansi-Youth sub-segment are directed by a strong personal identity and a need to be acknowledged as an African individual with unique personal characteristics. It is therefore also important for them that their appearance should symbolise their personal qualities and not necessarily that of a Westernised fashion style or beauty ideal, or that they belong to a specific social or sub-cultural group. The study further showed that dress, hairstyle and body shape are important features in their beauty ideal, directed by their personal identity. With regard to their aesthetic dimensions that play a role in dress and appearance, for them it is more about the sensory beauty of their appearance and emotional pleasure that their dress and appearance give them, than reflecting that they belong to a specific group or culture - indicative of a personal identity, rather than a social identity. The study further showed that with regard to social comparison, it is not important to the women in the Mzansi Youth sub-segment to compare themselves, and specifically their dress and appearance to those of others, whether it being to their friends, or an African or Westernised beauty ideal. With regard to appraisals of fashion magazine images, portraying different beauty ideals, specifically a Western, African and Euro-African beauty ideal, the study showed that the targeted consumers prefer the Euro-African beauty ideal because they like it, and it is also the appearance that they can relate to and that they would compare themselves to, although comparison is not important to them. However, if they have to compare themselves, they would compare the beauty ideal feature that is the most important to them, namely their dress style. They also mostly compare just for the sake of comparison and not to feel better about themselves or to feel that they fit into a specific group. In cases where they compare negatively to an image, whether African, Western or Euro-African beauty ideal, they will still accept the standard and will do nothing further. Lastly, the study also showed that most of the women in the Mzansi Youth sub-segment, would probably buy a fashion magazine which features Euro-African fashion images to see the latest trends and fashion ideas, but not because the model would inspire them to improve themselves. This study clearly has practical implications for fashion magazine editors and marketers in South Africa, as well as for the advertising industry, especially when incorporating fashion images in advertisements specifically aimed at the women in the Mzansi Youth sub-segment. / Dissertation (MConsumer Science)--University of Pretoria, 2011. / Consumer Science / unrestricted

The purpose of this thesis is to empirically identify how pure-play fashion retailers can simulate attachment to their websites (through trust, loyalty and purchase intentions) by using different marketing communications media (static product presentation, moving product presentation, guidance and community) to overcome the intangible nature of the online sales environment.The word “simulating” in the title has been chosen due to the nature of the relationship which can exist between a consumer and a pure-play retailer. The word “simulate” means ‘imitate the appearance or character of’ and ‘pretend to have or feel (an emotion)’ (Google a, 2012). A computer facilitates the relationship between a consumer and the pure-play retailer and cannot feel; therefore the relationship cannot exist in a real way and only exists in the eyes of the consumer. Just as a simulator is used for pleasure rides, such as flights or rocket ships, the flight does not exist, but is simulated by a computer and a director who ensures the film starts simultaneously with motion. The same is true for the relationship between a pure-play retailer and a consumer, it is not real, and therefore it is appropriately “simulated”. Descriptive statistics set the scene for a following body of multivariate statistical analysis (EFA, CFA and SEM) using AMOS 16.0. 15 hypothesized relationships are tested after being generated from an extensive literature review. A sample of 688 female young fashion consumers from The University of Manchester participated in this study. There is clear variability in the build up of attachment when a consumer shops for products communicated via different marketing media. Different facets of attachment can be simulated by using static product presentation, moving product presentation and guidance. Community tools can be used to fuel product viewing in rich media and moving formats whilst acting as a discursive platform. Static product presentation has direct relationships with trust and purchase intention, whereas moving product presentations are related to building loyalty. Generalisation of results is limited due to the use of an exclusively female, student sample and the centrality on the UK fashion industry. Further development of the constructs used in this study is needed to further test the conceptual model. This study is one of the first to empirically study pure-play fashion retailing, providing insightful and pragmatic advice by identifying which communication mediums foster enduring relationships with young fashion consumers.