Mediante este Plan de Negocios, se ha considerado la operatividad de la Empresa cuya razón social es Neven Perú, la cual se dedicará a la creación y venta de diseños de ropa casual genderless orientado a adultos jóvenes y teniendo como plataforma de venta el modelo e-commerce. El sustento para esta propuesta, obedece a la existencia de un nicho del mercado, que demanda atención en el tipo de producto ofrecido; por lo que para la presente investigación, se ha orientado adecuadamente el planeamiento estratégico que incluye a la misión, la visión, los valores centrales, los cuales se encuentran orientados a respaldar la existencia de la organización; de las características del producto de la empresa, estableciendo los factores propios del entorno del mercado a nivel macro y micro, sin dejar de lado el rol de la competencia, considerando para ello determinadas matrices. Se ha considerado igualmente, el aspecto financiero y contable, de modo tal que existe un capital inicial, el mismo que se obtendría del aporte de los socios de la empresa, sin dejar de lado el apoyo de las entidades financieras. La inversión tiene una proyección de cinco años, evidenciándose la viabilidad y el éxito de una empresa dedicada a la venta de diseños genderless, como lo sería la marca MARCIO MIUGËR. / Through this Business Plan, the operation of the Company whose corporate name is Neven Peru has been considered, which will be dedicated to the creation and sale of casual genderless clothing designs aimed at young adults and having the e-sales platform as a sales platform commerce The support for this proposal, is due to the existence of a niche market, which demands attention in the type of product offered; Therefore, for the present investigation, the strategic planning that includes the mission, the vision, the central values, which are oriented to support the existence of the organization has been properly oriented; of the characteristics of the product of the company, establishing the factors of the market environment at macro and micro level, without neglecting the role of the competition, considering certain matrices. It has also been considered, the financial and accounting aspect, so that there is an initial capital, the same that would be obtained from the contribution of the company's partners, without neglecting the support of financial entities. The investment has a five-year projection, evidencing the viability and success of a company dedicated to the sale of genderless designs, such as the MARCIO MIUGËR brand. / Trabajo de suficiencia profesional

The title of this work origins from the muse created to give the thought of equal value in discarded material a persona. This crazy-cat-lady-like muse that compulsively hoards and stacks every possible item in her house and values her low-status-material single-use-waste-collection equally to her high-status-material jewelry box. This understanding that every material has some sort of value that one can enhance and add to through re-contextualization, repeats or manipulation is key within this work. This collection will therefore present you with design-examples generated by an upcycling-design-tool, the method-cards, where materials such as waste garments or non textile-objects are re-contextualized together into new wearable hybrids. These resulting hybrids are proposing a suggestion on how sustainable material sourcing in our post-consumer-waste-streams can generate new expressions in dress. All individual examples combined together in a five-looks-collection. Every example is responsible for adding value by upcycling and re-designing discarded post-consumer material and items and therefore reducing the need for virgin produced goods in fashion design. The hybrids generated will also aim to lift a serious cause with a touch of humor and therefore make the subject of overconsumption more reachable.

No description available.

This thesis proposes the use of seashells and their behaviours to create a methodological framework for designing wearable knitted sculptures for the body. The behaviours of exposure, protection, growth, and constriction are used to map out the cyclic life pattern of the woman's body and explore its growth. This cyclic view of the woman's body is rooted in re-imagined storytelling of classic myths, continuing the traditional practice of retelling stories to fit or change the perception of current social constructions. The mythology of maiden-mother-crone is aligned with seashell growth cycle, creating a conceptual dialogue between the two. This creates a dynamic storytelling within the research which informs the behaviour and look of the individual pieces. The work used a methodology that explored how digital tools can be incorporated into the sketching process. Experiments, digital and physical, were conducted to support and deepen the exploration of the concept regarding seashells growing on human bodies in both the metaphorical and physical sense. The methodology included the notion of Tableau vivant, a tableau-like performance by the model that is captured as a still image to convey the design expression. The collection tells a story where each piece is a point in the lifespan of shells and humans, drawing parallels between the individual growth cycles and establishing meeting points through body characteristics and social symbolism. This makes the textiles not only an extension of the body with transcribed feelings and personalities but also a representation of it. This thesis presents a twofold result, the five-pieced collection of wearable garments and a series of photographed images that contextualize the collections’ interaction with the woman's body.

No description available.

This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.

The purpose of this thesis was to design costumes for twelve characters, selected from the Book of Mormon, suitable for projected dramatic productions. Selection of the characters was determined by the following criteria:(1) Sufficient dramatic potential for projected dramatic productions must be inherent in the period from which characters are drawn.(2) Characters should represent various levels within their society.The problem of creating the costume designs presumed an investigation of environmental factors which would influence the clothing styles worn by a typical cross section of Late Preclassic Mesoamerican society. Origins of the American Indian are briefly discussed and geographical influences on costume are shown. Elements of early costume are discussed including textiles, color, accessories, armor, and symbolism. Basic characteristics of costume for men and women are reviewed and similarities of Old World and New world costume are shown.Executions of twelve water color renderings are included and explanations of each costume design are given. Recommendations for further study are made.

[pt] Esta tese analisa a origem e o uso do termo tendência no campo do Design de Moda ao longo do século XIX e XX. Reflete sobre as noções difundidas e atreladas ao termo, assim como, sobre os mitos e seus agentes de legitimação no Design de Moda. Conclui, refletindo sobre os desdobramentos atuais do termo e sua apropriação no contemporâneo. / [en] This thesis examines the origin and use of the trend word in the field of Fashion Design during the nineteenth and twentieth centuries. Reflects on the notions disclosed about the term, as well as myths and their agents of legitimation into Fashion Design. It concludes by reflecting on the current appropriation of the term in the contemporary.

No description available.

In dance many choreographers uses neutral garments not to distract too much from the movement the ”natural” body performs. Still these garments paints the body with color, form, identity and movement qualities. The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form. The potential of dress in dance is explored in three chapters. For each of these, materials were chosen and arranged in order to provide an additional layer to the movement that the body naturally performs, allowing material to transform the body into various figures of movement. The first part introduces the use of dress in dance and how dress acts with the moving body. The second part explores how movement with the origin in the body can extend spatially and the last part focuses on the materials ability to interpret and materialize the movement.   The result of this work suggest that dress has the potential in dance as both choreographic tool and movement quality of equal importance as the movement of a body in a dance performance. Further it intersects the aesthetics of dance, a temporal aesthetic, with the aesthetics of garments, as a form based aesthetic, as it suggests dress as temporal design, allowing dress to create a new body of movement.