<p> This thesis serves as a record for the process of designing and delivering costumes for the production of <i>Back to Methuselah</i>, produced by the Washington Stage Guild at the Undercroft Theatre of Mount Vernon Place United Methodist Church, 900 Massachusetts Avenue, NW, Washington, D.C., opening on February 19 and closing on March 13, 2015. It was directed by Bill Largess, costume designs were done by Debbie Kennedy, set design was by Shirong Gu, lighting designer was Marianne Meadows, sound design was by Frank DiSalvo, Jr. and stage manager was Arthur Nordlie. This document traces the seven steps of the design process, includes supporting research, describes challenges and opportunities and showcases final production photographs.</p>

The focus of this thesis is the promotions of a range of male fashions and sportswear by professional football players 1950-1985. The interpretation of these images is not confined to the promotions themselves but instead adopts a broader approach that embraces the narratives surrounding the promotions and their place within football histories and the wider social context. An essential part of the thesis is a detailed analysis of the relationships that developed between football players, as individuals or part of a team, and the fashion retail industries and sportswear companies. Case studies contribute to an understanding of the practices around the production and consumption of these promotions and explain the rationale for each event and preference for a particular player. The research employs a mixed methodology that draws on archival research, both documentary and visual, as well as evidence from contemporary newspapers and popular and trade magazines. The archival evidence is augmented by oral testimonies from football players involved in the promotions, and from friends and other observers. To this is added research into the clothes, sourced in museums and private homes. A final approach is evidence of the geographic locations of the football clubs and the archival material on display in the trophy rooms. This thesis brings together the histories of male fashion and football. It uncovers the key role of the player, in promoting a wide range of clothing and accessories directed predominantly at a male market place, and provides new evidence that contributes to a neglected field of study within both disciplines.

The purpose of this research is to investigate the power and postcolonial meanings of lingerie for urban Indian professional women (UIPW) living in India to better understand the consumer behaviour of lingerie consumption. This critical marketing studies thesis adds to the existing studies of lingerie to argue that little is understood about the social meanings behind the growth in lingerie in India. It analyses the ways in which lingerie is instrumental to how urban Indian women sartorially negotiate colonial and national tensions of sexual identity. An interdisciplinary conceptual framework utilising Foucauldian power and an original application of Saidian orientalism are used to critique lingerie advertising practices in India and its implications for developing the discourse of cross-cultural consumer behaviour for postcolonial contexts. An interdisciplinary, interpretive, qualitative, mixed methods case study approach was undertaken in the urban Indian cities of Delhi and Bombay between the periods 2010 – 2014. The research design consisted of: a content analysis of lingerie advertising in the magazines Vogue India and Femina between the post-media-liberalisation years 2003 to 2014; visual and textual analysis of lingerie in three selective Indian films; 106 semistructured surveys conducted amongst UIPW in the urban cities of Delhi and Bombay; two focus groups in Bombay and Delhi and fifteen in-depth interviews. Data analysis included SPSS analysis and discourse analysis. Findings reveal the contradictory ways in which female sartorial identity in India is caught up in competing postcolonial forces of control and resistance demarcated along the lines of cultural, social and economic capital, therefore differing from existing western studies of lingerie. Findings show current global marketing practices still operate within western marketing frameworks, perpetuating social inequalities and are failing to be congruent with multiple and alternative feminine identities. Findings empirically reinforce the importance of postcolonial theory for original socio-cultural consumer behaviour insight and the development of global marketing strategy.

No description available.

M.Tech. Performing Arts / "I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged" (Brook, 1968:9) According to this quotation by renowned theatre director Peter Brook, all that is needed to create theatre or a theatre production are three components: a space to walk across, someone to walk across the space and someone watching the action. If this is true then one can see plenty of similarities between a fashion show, where models walk across a runaway with people watching them, and a theatre production. These similarities between a theatre production and a fashion show are not the only elements connecting theatre and fashion. Since the birth of haute couture in the late 19th century, haute couture designers have been looking towards theatre as well as the historical costumes used in theatre production for inspiration. These two elements have influenced their designs as well as the presentation of their clothing to clientele. Elements from historical costume like specific lines, cuts, fabric and colour choices as well as decorative aspects are evident in clothing throughout history. This trend has become more visible since the turn of the century. It was also at this time when a select few haute couture fashion designers became aware of the increased sales in their clothing when presented in a more traditionally theatrical way. One of the designers from the early twentieth century in whose work and presentation thereof this influence was clearly visible was Paul Poiret. This inspiration is still present and relevant today with haute couture fashion designers like John Galliano, Jean Paul Gaultier and the late Alexander McQueen. For this study, John Galliano's work was selected as best representing this influence

Thesis (MTech. degree in Fashion) -- Tshwane University of Technology, 2008. / This dissertation sets out to describe the processes and dynamics at play in the development of a couture design range that attempts to engage with, and enhance notions of Namibian identity. While the end product of the practical work is a range of garments that speaks to and reflects a possible Namibian identity, the dissertation engages with the notions of identity and the dynamics of identity building, and the closer interrelationships with the creative process. The study intend to investigates design and design-related issues and how they impact on fashion design and couture design as well as how they relate to the identity formation processes in the development and justification of a possible Namibian couture collection. Therefore, the creative development process, the choices, negotiations and adaptations that the designer involves herself with, are described and then drawn through to the nature of new identity formations. The design process is measured against the basic design theories as outlined in the relevant chapters in the dissertation. The study reveals that Namibian individual identities are shaped by juxtaposing indigenous cultural identities in combination with what is “imagined” [as Anderson (2006:6-7) explained] to be a “Namibian” national identity. It considers how the designer, embedded in the design process, but also part of a particular identity, interacts with these tensions. The dissertation attempts to isolate material elements in the Namibian landscape that can be used in the identity-building process. It argues that the same Namibian material hallmarks of identity, the specific design elements that have been identified as “authentic” Namibian, have been used in this specific couture collection. Finally the study investigates how these design elements (both generic and specific) relate to the specific Namibian design element aspects in an attempt to see whether this specific couture collection contributes to “defining Namibian couture design”.

No description available.

Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2008.

Exegesis (MA--Art and Design)--AUT University, 2009. / Includes bibliographical references. Also held in print (97 leaves : ill. ; 30 cm.) in the Archive at the City Campus (T 746.92 LAR)

<p> The creation of national identity through the printed publication was historically important in developing French economic and cultural dominance. Luxury periodical publications such as <i>Gazette du Bon Ton</i> followed in the footsteps of historic predecessors in promoting French fashion and standards of taste to elite audiences at home and abroad, and editors such as Lucien Vogel, who positioned <i>Gazette du Bon Ton</i> alongside the exquisitely produced, influential fine art, decorative art, and design guides of the time, became powerful voices reporting on fashion and appropriate social etiquette during a time of profound social change. </p><p> The separation and cataloguing of individual pochoir from <i>Gazette du Bon Ton</i> has, over time, shifted the publication from rare book libraries to print, photography, and drawing collections and the classification of <i>Gazette du Bon Ton</i> pochoir as ephemera. This shift has limited our understanding of the complete publication. Prior research of <i> Gazette du Bon Ton</i> has focused primarily on the visual merits of fashion pochoir. This thesis attempts to redress that imbalance by analyzing the material components of <i>Gazette du Bon Ton</i> and reconsidering the vision of powerful editors such as Lucien Vogel in directing social narratives reflective of their time.</p><p>