The purpose of the study was born out of a perceived need to establish an assessment strategy framework for the fashion programme of one Eastern Cape comprehensive university. The study focused on one Eastern Cape comprehensive university. The programme, National Diploma: Fashion, is offered by the university at two campuses (120km apart). Although this programme is currently offered at both of the sites under the auspices of the university, disparity exists in many of the academic functions within the programme. The most challenging is assessment and the implications of a non-existent standard framework for assessment across both campuses. This research undertook to identify a framework that would best serve the Fashion programme of the researched university. Assessment in the context of this study referred to the process of both gathering evidence of student learning as well as assigning grades to that learning. The lack of an assessment framework affects the quality of assessment. Consistency in the assessment process across both campuses is important. At present assessment is not consistent as it is done independently on each campus. This lack of consistency could prove to favour students at the one campus while marginalizing students at the other campus and vice versa. Inconsistency arises from staff having no common assessment framework to refer to when assessment takes place. This study was a case study. Interviews were conducted with a sample of lecturers and students from both sites. A document analysis of relevant policies was done. The documents included the Higher Education Quality Committee document Criteria for Programme Accreditation, 2004, the South African Qualification Authority document Criteria and Guidelines for Assessment of NQF Registered Unit Standards and Qualifications, 2001, and the South African Qualification Authority document Guidelines for Integrated Assessment, 2005. University policy documents pertaining to assessment were also included in the research.The findings of this study lead to the conclusion that there is no clear assessment framework currently in place for the National Diploma: Fashion at one Eastern Cape comprehensive university. The assessment methods currently in use are not fully understood and comprehended by lecturers or students. The assessment types are limited with little or no variety as to how assessment is practiced. Although continuous assessment is advocated in the department, a lack of understanding by lecturers and students as to the true practice of continuous assessment is evident. Much of the assessment is done at the end of a teaching module, rather than embedded in the teaching module. This means that assessment is done of learning rather than for learning.

Orientador: Ivan De Domenico Valarelli / Banca: Luis Carlos Pachoarelli / Banca: Suzana Barreto Martins / Resumo: A presente pesquisa verifica a eficiência da modelagem tridimensional, moulage, como instrumento de otimização do processo de desenvolvimento do produto de moda/vestuário. Para tanto, enfoca as etapas de criação e materialização nas quais a referida técnica encontra-se inserida, onde constata a dicotomia entre as áreas de criação e modelagem. Aborda as qualidades técnicas, construtivas, ergonômicas e estéticas envolvidas no projeto da modelagem do produto, enfatizando os aspectos de conforto, caimento e inovação formal. De abordagem qualitativa, tem seus dados coletados por meio de observações sistemáticas, no âmbito acadêmico, numa variedade de situações-problemas, em momentos diversos, com variadas fontes de informação - cenários criados para reproduzir, considerando as devidas proporções e especificidades - situações industriais análogas. Estabelece as seguintes linhas guias de observação: criar e materializar; materializar a criação do outro; a criação constitui-se na própria materialização. Indicadores previstos na estruturação da pesquisa - adequação dimensional, vestibilidade, inovação formal, tempo, retrabalho, consumo de matéria-prima, soluções de montagem - conduzem aos resultados, numa comparação dos dados obtidos quando a técnica da modelagem tridimensional encontra-se ou não inserida no processo de desenvolvimento do produto de moda. É constatada a eficiência da técnica no processo. / Abstract: The purpose of this research is to verify the efficiency of the three-dimensional modeling, draping, as a way to achieve a better development of the fashion/clothing products. For that, it focus the creation and the materialization steps, in which the draping technique is found, where is found a dichotomy between the creation and the modeling areas. It also approaches the technical, constructive, ergonomic and esthetic qualities involved on the modeling project, emphasizing the comfort, adjustment and innovation of the shape. This qualitative research got the data collection by methodological academic observation, with a variety of problem situations, in different moments with distinctive information sources - created reproduction scenes, considering the propositions and specialties - such as industrial situations. It establishes the following observation guide: to create and materialize; to materialize the other’s creation; the creation constitutes in the materialization itself. The indicators used in this research are the dimensional fitness, adjustment, innovation of the shape, time, rework, material raw, assembling solutions. They conduct to the findings, comparing obtained data when the three-dimensional modeling is found in development of the fashion/clothing products and it proves the efficiency of the technique in the process. / Mestre

Submitted by TAMISSA JULIANA BARRETO BERTOM null (tamissa@utfpr.edu.br) on 2016-08-13T20:58:02Z No. of bitstreams: 1 Coberturas de cabeça - diretrizes projetuais para o desenvolvimento de produtos.pdf: 8408708 bytes, checksum: 349e2179bbf74b2b4c01249f935ffb6f (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-15T18:38:27Z (GMT) No. of bitstreams: 1 berton_tjb_me_bauru.pdf: 8408708 bytes, checksum: 349e2179bbf74b2b4c01249f935ffb6f (MD5) / Made available in DSpace on 2016-08-15T18:38:27Z (GMT). No. of bitstreams: 1 berton_tjb_me_bauru.pdf: 8408708 bytes, checksum: 349e2179bbf74b2b4c01249f935ffb6f (MD5) Previous issue date: 2016-07-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Coberturas de cabeça como chapéus, bonés, boinas, entre outros, além de serem acessórios que possuem a função de proteger são itens que compõem e valorizam uma composição de Moda. Embora seu uso no Brasil não seja tão cotidiano como em outras partes do mundo, existe, na atualidade, um aumento na procura de tais acessórios de moda, e por consequência um significativo aumento da produção pelas indústrias, notadamente na região de Apucarana/PR, que conta com um núcleo de indústrias especializadas na confecção de bonés e demais coberturas de cabeça semelhantes. Apesar da pertinência destes elementos para o vestuário, para o Design e para a Moda, não são encontrados muitos registros sobre estas peças, impulsionando o interesse em realizar alguma contribuição para este ramo. O objetivo predominante deste trabalho consiste em compreender as características da concepção e processo produtivo das coberturas de cabeça, visando estabelecer orientações, baseadas em conceitos de Design e de Moda, para o seu desenvolvimento em indústrias. Inicialmente, a pesquisa conta com uma breve investigação sobre a história dos acessórios de cabeça, estabelecendo definições das funções do Design atreladas a estes elementos. Em seguida, averiguou-se os estilos de chapéus, bonés, boinas e gorros produzidos e utilizados atualmente. Doravante, há um afilamento por itens produzidos pelas indústrias de confecção, relatando suas propriedades. Aborda-se neste contexto também diretrizes projetuais de desenvolvimento de produto de Moda e acessórios em geral, além de uma metodologia de confecção do vestuário. Para atingir o conhecimento que propicia elaborar os direcionamentos pretendidos, busca-se observar empresas do ramo e realizar entrevistas com responsáveis pelo desenvolvimento do produto. Contudo, percebe-se que o processo de construção das coberturas de cabeça são adequadas, porém a concepção e elaboração do produto não possui um direcionamento específico, sendo que cada um desenvolve de uma maneira, havendo assim lacunas que obstruem o resultado final. Dessa forma, estabeleceu-se orientações a fim de conduzir os profissionais que desempenham a função de conceber e desenvolver coberturas de cabeça, embora ainda necessitem ser implementadas e aplicadas, os direcionamentos foram embasados na realidade industrial. / Head coverings such as hats, caps, berets, among others, and are accessories that have the function of protecting are items that make up a composition and value of fashion. Although its use in Brazil is not as everyday as in other parts of the world, there is, at present, an increase in demand for such fashion accessories, and consequently a significant increase in production by industries, notably in the area of Apucarana/PR, which has a core of specialized industries in the production of caps and other similar head coverings. Despite the relevance of these elements for clothing, for the Design and the Fashion, not many records are on these parts, driving the interest in making a contribution to this branch. The predominant objective of this work is to understand the characteristics of the design and production process of head coverings, to establish guidelines based on concepts of Design and Fashion, for their developing industries. Initially, the research has a brief research on the history of headwear, establishing definitions of the functions of design tied to these elements. Then examined whether the styles of hats, caps, berets and caps produced and used today. From now on, there is a thinning of industrial items, reporting their properties. Addresses in the context also projective guidelines for product development and fashion accessories in general, as well as a methodology of garment making. To attain knowledge that provides elaborate the desired directions, search observe branch companies and conduct interviews with responsible delo product development. However, it is clear that the process of construction of the head covers are quite adequate, but the design and preparation of the product does not have a specific direction, each of which develops and manner, so there gaps that hinder the final result. Thus, we established guidelines in order to drive the professionals who perform the function of designing and developing head coverings, although still need to be implemented and applied, the directions were based in industrial reality.

Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010 / A research was conducted in order to assist the Young Fuller Figured Women entering and already working in the corporate environment with clothing for the work environment. This research was conducted so that these women may notice a smaller number of incorrect fitting clothes when they shop for formal wear and also to give them guidance on suitable, elegant and stylish clothes for their body size and shape. Two theories namely: 'dress for success' by John Molloy and 'clothing is a code' by Fred Davis were the guidelines jn discovering, understanding and solving the dress problem for the young full figured women. In order to deal with the problem I had to interview some of these women to understand their challenges and frustration regarding dressing suitably for the corporate environment. The results of the interviews showed that the origin of the problem, are the basic block pattems. This was the solution for most of the garment fitting problems that the young fuller figured women experienced daily. A range was designed to serve as an example of how these women can dress for the corporate environment using various suitable fabrics and colours. This range appears formal and yet has a feminine twist to it, making it suitable for the woman who wants to be taken seriously and yet maintain her femininity and elegance. I hope that this research will be a useful tool for the retailers who currently cater for the fuller fIgured women to assist them with the current garment fitting problems and for the designers who plan to enter the fuller figured market: to enter it cautiously and taking the requirements of their potential customers into consideration If the information in this research is applied clothes that the fuller figured women buy will fit correctly the first time and they will not have to pay extra to alter new garments.

Esta dissertação tem como objeto de estudo os processos de transferência de imagens para substratos têxteis destinados à confecção de roupas de moda e vestuário sob enfoque ambiental. Hoje a moda é uma poderosa indutora de consumo, sendo a estampa um de seus mais importantes recursos. A etapa de beneficiamento têxtil – chamada de estamparia – consome grandes volumes de recursos naturais e de produtos químicos nocivos ao meio ambiente e à saúde do prestador de serviço. Nesse cenário, analisam-se os impactos ambientais através das principais entradas de matéria-prima – água, produto químico e energia – e saídas – resíduos e efluentes – provenientes dos processos de estamparia mais usados atualmente na indústria têxtil brasileira: serigrafia, impressão digital por sublimação e impressão digital a jato de tinta, nos formatos localizado e corrido. O estudo visa obter um indicativo ambiental dos processos de transferência de desenho para superfície têxtil de produtos de moda. Os resultados auxiliam designers e empresários na escolha de métodos de impressão sobre tecidos para produzirem artigos de moda alinhados aos conceitos do desenvolvimento sustentável. Para tanto, realizou-se pesquisa de natureza qualitativa aplicada, com métodos de caráter exploratório, pesquisa bibliográfica, documental e eletrônica, e por observação in loco, através de visitas técnicas às empresas. Como instrumento de sistematização dos dados coletados desenvolveu-se uma ferramenta baseada em aspectos selecionados da normativa de padronização ISO 14040 − International Organization for Standardization − e da ferramenta Sustainability Design Orienting Toolkit – SDO −, de Vezzoli (2010), que orienta o processo de design para soluções sustentáveis. Como resultado, expõem-se os métodos de impressão menos impactantes na saúde do trabalhador e no meio ambiente, evidenciando que certas etapas de processos de estamparia têxtil, pensadas sob o viés ecológico, fazem parte da realidade de empresas de médio e grande porte, embora se encontrem distantes da realidade das micro e pequenas empresas. A inserção de ações de sustentabilidade nas etapas dos processos de estamparia tem potencial a ser explorado, além de ser de grande valia na busca pelo consumo de roupas de moda de cunho ético. / This dissertation focus on the processes of image transference to textile substrates destined to fashion clothing production under environmental focus. Nowadays fashion is a powerful inducing consumption and patterns are one of its most important resources. The textile-processing step – called stamping – consume large amounts of natural resources and chemicals harmful to the environment and health of the service provider. In this scenario, the environmental impacts are analyzed through the main entrances of raw material – water, chemical and energy – and outputs – waste and effluents – from the most usual printing processes currently in the Brazilian textile industry: silkscreen, dye-sublimation printing and digital ink jet printing, located in and run formats. The study aims to obtain an environmental indicative of the design transfer processes for textile surface fashion products. The results help designers and entrepreneurs to choose tissue-printing methods to produce fashion items aligned with the concepts of sustainable development. Thus, there was qualitative applied research, with exploratory methods, bibliographical, documentary and electronic research and on-site observation, through technical visits to companies. As the collected data systematization instrument it was developed a tool based on selected aspects of the standardization of rules ISO 14040 – International Organization for Standardization – and the Design and Sustainability Orienting Toolkit – SDO – of Vezzoli (2010) that guides the design process for sustainable solutions. As results, printing methods with less impact on the workers health and the environment are shown, demonstrating that certain stages of textile printing process analyzed from an ecological bias are reality of medium and large companies, but far from the reality of micro and small businesses. The inclusion of sustainable initiatives in the stages of printing processes has potential to be explored, as well as being of great value for ethical fashion consumption.

O design geralmente está associado ao fator estético e funcional dos produtos. Porém, desde a década de 90 este conceito tem mudado e o significado deste termo tornou-se mais abrangente. Atualmente, esta palavra associa-se a fatores estratégicos nas organizações. O objetivo da pesquisa visa estudar a inserção da gestão do design no processo de desenvolvimento de produtos de empresas de confecção de Araranguá. O referencial teórico desta pesquisa mostra que nas grades curriculares das faculdades de design ainda não se enfatiza suficientemente a gestão nos cursos da área, impossibilitando que os designers desenvolvam habilidades gerenciais. Sobretudo, o presente trabalho visa analisar como as empresas de confecção de Araranguá, no Estado de Santa Catarina, inserem o design em seus processos. A análise foi realizada através de uma comparação com o Modelo de Gestão de Design apresentado pelas autoras Bruce; Cooper e Vasquez (1999) como elemento norteador desta pesquisa. O estudo de caso englobou cinco empresas desenvolvedoras de produtos de moda cuja análise dos dados qualitativos resultou em sugestões de melhorias para cada empresa estudada. / The design factor is usually associated with aesthetic and functional products. However, since the 90's this concept has changed and the meaning of this term has become more embrasing. Currently, this word is associated with strategic factors in organizations. The objective of the research aims to study the inclusion of design management in the process of product development companies making Araranguá. The theoretical framework of this research shows that in the curriculum of the schools of design still is not enough emphas is on management courses in this area, becoming impossible for designers to develop management skills. Above all, this reserach also aims to analyze how fashion industries in Araranguá, Santa Catarina State, use design. The analysis is performed through a comparison with the Management Model of Design presented by the authors, Bruce; Cooper e Vasquez (1999) as a guide element of this research. The case study comprised five companies that develop fashion products whose qualitative data analysis resulted in suggestions for improvements for each company studied.

Para o lançamento de novos produtos na área do Design de Moda, os designers utilizam conceitos de ergonomia durante as etapas de formatação do produto. A pesquisa tem como objetivo introduzir na metodologia projetual a preocupação ergonômica, visando à adequação do design no que diz respeito à usabilidade e ao conforto. O estudo trata das relações entre Moda, Design e Metodologia para compreensão da importância da Ergonomia no auxílio dos projetos de Design de Moda. A proposta é sistematizar por meio da metodologia de Grupo Focal as questões ergonômicas na fase projetual de produtos por meio de uma revisão bibliográfica e de reflexões extraídas, constatando-se sua aplicabilidade ao permitir que o designer a partir de uma análise qualitativa dos dados captados nas discussões com o público-alvo proporcione um produto mais satisfatório ao usuário. / For the launch of new products in the area of Fashion Design, designers use concepts of ergonomics through the steps of formatting the product. The research aims at introducing a methodology projetual ergonomic concern, aiming at adapting the design with regard to usability and comfort. The study deals with the relationship between Fashion, Design and Methodology for understanding the importance of ergonomics in aid of Fashion Design projects. The proposal is to systematize through focus group methodology ergonomic issues in projetual phase products through a literature review and reflections drawn, though there is its applicability by allowing the designer from a qualitative analysis of the data captured in discussions with the audience provides the user a more satisfactory product.

Em relação ao vestuário utilizável pelo público vegano (indivíduos que se abstêm, por motivos éticos e/ou ideológicos, na medida do possível, do consumo de produtos e serviços provenientes do reino animal), há diversas alternativas sintéticas aos materiais de origem animal que os substituem em suas funções práticas, estéticas e/ou simbólicas. De arremedos burlescos a imitações fidedignas da realidade, simulacros de peles, penas, pelos, ossos e secreções de animais, à primeira vista, de perto, de longe e/ou aos olhos de leigos, em diferentes graus de realismo, figuram aspectos estéticos e sensoriais que os tornam difíceis de serem distinguidos de genuínos materiais de origem animal. Neste contexto, o presente estudo concerne uma investigação qualitativa exploratória de caráter sobretudo fenomenológico, acerca da reflexão sobre a problemática de possíveis implicações conceituais e práticas mais notáveis, sob o enfoque ético, estético, sociológico, semiótico e prático, da ideia de simulacro, emulação e cópia de materiais de origem animal e/ou que façam referência, alusão ou evoquem aspectos exteriores de corpos de animais em vestuário de veganos. Para tanto, a partir de levantamentos de comentários de usuários veganos em redes sociais da internet, aplicação de questionários e entrevistas em profundidade com usuários, ativistas do movimento vegano e especialistas teóricos, espera-se, com esta contribuição, iluminar os campos do design de moda, do veganismo e, consequentemente, dos direitos dos animais. Alguns dos resultados desta investigação sugerem, por exemplo, que, enquanto, para alguns usuários, o recurso a alternativas consideradas como veganas seria aceitável pelo fato de substituírem atributos funcionais, estéticos e até afetivos de roupas e acessórios diretamente associados, por eles, a sofrimento, para outros usuários, seria objeto de reprovação. Segundo parte dos respondentes, devido ao razoável grau de fidedignidade de vários destes simulacros, o mero uso deste tipo de material artificial resultaria pouco aceitável por ser insuficientemente discernível de materiais derivados de corpos de animais. Nestes casos, esta verossimilhança poderia, segundo eles, indiretamente promover a ideia de que o uso de materiais de origem animal seria admissível, contribuindo, assim, para estimular o consumo de vestuário não condizente com a ideologia que adotam / In the cathegory of clothing which can be worn by the vegan public that is, by those who abstain as much as possible from consuming products and services of animal origin for ethical and ideological reasons there are various synthetic alternatives to materials of animal origin which fulfill the practical, aesthetic and/or symbolic functions. From burlesque copies to reliable imitations, like those of leather, feathers, fur, bones and animal secretionswith different degrees of realism, they haveat first, up close, or from a distance and/or to the eyes of laypeople, aesthetic and sensorial aspects that make it difficult to distinguish from genuine materials of animal origin. This study is a qualitative, exploratory, phenomenological investigation about the problematic of some of the most notable possible conceptual and practical implications, from the practical, aesthetic, philosophical, sociological and ethical viewpoints, of the idea of imitation, emulation and copying of materials of animal origin or materials which make a reference or allusion to, or which evoke exterior aspects of, animals bodies in vegans\' clothing.To this end, based on searches for vegan users comments in online social media, questionnaires and in-depth interviews with users, vegan movement activists and theoretical specialists (like ethics philosophers and designers specializing in ethical fashion), the aim of this study, based on conclusions obtained through analysis of these different points of view, is to illuminate the fields of fashion design, veganism and consequently, animal rights. Results of this investigation suggest, for instance, that for some users, making use of alternatives considered vegan would be an acceptable practice because they would replace functional, aesthetic and even affective attributes of clothing and accessories that such users otherwise associate with pain, while for other users this option would be objectionable. According to some respondents, due to the reasonably high level of visual similarity of various types of such simulacra, merely employing these animal byproducts would be considered less acceptable, given their insufficiently discernible distinction from animal-body materials. In such instances, they felt this verisimilitude could indirectly foster the idea that the use of such animal-origin material would be acceptable, therefore contributing to promoting the consumption of clothing of a type which is against the principles they adopt

Esta pesquisa investigou a questão da sistematização e padronização de medidas de vestuário no Brasil. A padronização de tais medidas, necessidade de tabelas, normatizações já existentes e pesquisas em andamento são alguns dos aspectos abordados. Para tanto, opiniões de especialistas, estudiosos, técnicos e designers foram incorporadas à discussão por meio de entrevistas semi-estruturadas em profundidade com amostras diversificadas das categorias envolvidas. Foram empregados métodos qualitativos, em abordagem essencialmente descritiva. As técnicas de coleta de dados utilizadas compreendem: entrevistas com profissionais da área e com especialistas em antropometria e design de moda, questionários, observações in loco, revisão bibliográfica e visitas técnicas nas cidades de São Paulo e Rio de Janeiro. Entre as reflexões a que este estudo chegou está a possibilidade da elaboração de uma tabela referencial nacional para o vestuário que abarque o público feminino e masculino em todas as idades. A existência de tal tabela não implicaria, em um primeiro momento, necessariamente, em padronização massiva por parte das empresas. Mas aumentaria as possibilidades de adesão das indústrias de moda a um referencial padronizado que, por sua vez, contribuiria para fortalecer a cultura das empresas com respeito à manutenção de um padrão de tamanho nacionalmente compartilhado em seus produtos, com evidentes benefícios para a indústria, os usuários e a sociedade como um todo. / This research investigated the issue of systematization and standardization of clothing measures in Brazil. The standardization of such measures, the need for tables, existing norms and ongoing research are some of the points raised. To do so opinions of experts, scholars, technicians and designers were incorporated into the discussion through semi-structured in-depth interviews with diversified samples of the categories involved. Qualitative methods were employed in an essentially descriptive approach. Data collection was done through interviews with professionals in the field and experts in anthropometry and fashion design, as well as through the use of questionnaires, on-site observations, literature review and technical visits in the cities of São Paulo and Rio de Janeiro. One of the reflections that this study leads to is the possibility of developing a national reference table for clothing that covers both female and male at all ages. The existence of such a table would not necessarily imply at first on a massive standardization by businesses. It would increase the chances of fashion industries adopt a standardized framework and this, in turn, would contribute to strengthening the culture of companies that respect and maintain in their products a nationally shared standard size. This would bring clear benefits for society as a whole.

This work explores the opportunities of working with multiplicity in fashion. This provides the freedom ofcombining inspiration from different times, places and cultures. At the same time, it is important that the viewerunderstands the fusion and that the work shows relevance to the current time in fashion. The selected parts inthis fusion are costumes from 19th century America and garments from the Russian designer GoshaRubchinskiy. The focus of this work is a fusion of these two worlds with the aim to find a new way of dressing.By finding methods that explore the complexity of Worldmaking, it led to a better understanding of theimportance of finding the balance between multiplicity and reduction. The materials from these two worlds arebased on items from websites relating to the origin worlds. These items are then developed with inspirationfrom both pleasure and insight. This collection started with two worlds that resulted in a lineup of seven looks. These looks have come torepresent another world, but still contain fragments that can be derived from its origins. This ”another world” isa young concept and eager to continue the creation of a new culture of fashion.