This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.

Esta pesquisa tem como objetivo analisar o período compreendido entre a metade do século XIX e o começo do século XX a fim de identificar que aspectos e componentes da estética e valores culturais japoneses teriam sido eventualmente integrados aos movimentos artísticos europeus e ao design de moda. O interesse ocidental pelo Oriente sempre existiu, porém, foi intensificado após a abertura dos portos japoneses em 1854, depois de mais de dois séculos em reclusão. O encontro entre duas culturas tão distintas causou grande entusiasmo na Europa, com diversos autores que defendem que esta aproximação influenciou o rumo das artes, do design e de outros diversos campos, resultando em um movimento estético denominado Japonismo. Desse modo, esta pesquisa de natureza qualitativa, na modalidade histórica, gerada a partir de estudos bibliográficos e estudo de campo em museus e exposições, pretende expor exemplos e tecer reflexões sobre a importância do intercâmbio cultural entre o Japão e a Europa do final do século XIX e início do século XX, mais especificamente nos campos da arte e da moda / The aim of this research is to study the period between mid-19th century and beginning of 20th century to identify which aesthetic and cultural values aspects and components would eventually have been integrated to European fashion design and art movements. The occidental interest towards the orient have always existed, although, it was intensified after the opening of Japanese ports on 1854, after more than two centuries of seclusion. The encounter of such different cultures triggered enthusiasm in Europe, and several authors suggest that this gathering led the way of art, design and many several fields, resulting in an aesthetic movement called Japonism. Therefore, this qualitative research, on history, generated from bibliographical and field study in museums and exhibits, intends to bring into thought the importance of cultural exchange between Japan and Europe on the end of 19th Century and beginning of 20th century, specifically on art and fashion

Syfte: Syftet med uppsatsen är att undersöka hur modeföretag jobbar med hållbar produktutveckling och design och vad det finns för vidare utvecklingsmöjligheter. Genom en kvalitativ intervjustudie ska studien bidra med en sammanställning och diskussion kring hur företag kan implementera hållbarhet i produktutvecklingsprocessen. Uppsatsen skrivs på svenska.   Metod: Genom en kvalitativ och deduktiv ansats har empiriska data samlats in genom semistrukturerade intervjuer med fyra produktutvecklande modeföretag. Metoden valdes för att ge rum för utvecklade svar från informanterna vilket skapade förutsättningar för en sammanställning och diskussion kring hur modeföretag kan implementera hållbarhet i produktutvecklingsprocessen och design. Teoretiskt perspektiv: Den tidigare forskningen involverar forskning kring tre övergripande ämnen. Det första ämnet är begreppet hållbarhet med fokus på det ekologiska perspektivet. Det andra ämnet är hållbara designstrategier, som inkluderar teorierna “Cradle to Cradle”, Eco-Design, Life Cycle Assessment samt de hållbara designstrategierna inom Design for Environment. Det tredje och sista ämnet rör designens funktion i relation till hållbarhet. Resultat och slutsatser: Resultatet visar att samtliga företag uppfattar hållbarhetsbegreppet som brett och delvis abstrakt. Detta visar sig genom företagens olika sätt att tillämpa hållbarhet via de hållbara designstrategierna. Denna skillnad är däremot också ett resultat av företagens olika identiteter och produkter. Däremot, de strategier som generellt implementerades var materialval, val av produktionsland, kvalitetsfokus och tidlös design. Studien har även undersökt vilka utvecklingsmöjligheter som finns, vilket visat att företagens tillämpning av hållbara designstrategier i högre grad borde grunda sig i en mer noggrann ekologisk utvärdering. Detta för att ge ett tydligare resultat kring vad som är “mest” hållbart för varje individuellt företag, samt hur hållbarhet kan appliceras på det sätt som bäst passar produktens design och egenskaper samt företagets målgrupps uppfattning av hållbarhet. / Purpose: The purpose of the paper is to investigate how fashion companies work with sustainable product development and design, and their opportunities for further development within the area. Through a qualitative interview study the investigation will contribute to a synthesis and discussion about how companies can implement sustainability in the product development process. The paper is written in Swedish.   Method: Through a qualitative and deductive approach, empirical data has been collected through semi-structured interviews with four product-developing fashion companies. The method was chosen to make room for the informants to give more complex answers, which created prerequisites for a synthesis and discussion about how fashion companies can implement sustainability in the product development process and design.   Theoretical perspective: The scientific research involves research within three general subjects. The first subject is the concept of sustainability, with focus on the environmental perspective. The second subject is sustainable design strategies, which includes the theories “Cradle to Cradle”, Eco-Design, Life Cycle Assessment and the sustainable design strategies within Design for Environment. The third and last subject concerns the function of the design in relation to sustainability.  Results and conclusions: The results show that all companies perceived the concept of sustainability as wide and partly abstract. This appears through the companies’ different ways of applying sustainability via the sustainable design strategies. However, this difference in application is also a result of the different identities and products of the companies. Yet, the strategies which were found generally implemented are choice of material, choice of production country, quality focus and timeless design aesthetic. The study has also investigated the companies’ opportunities for further development within the area, which showed that the companies’ applications of sustainable design strategies to a higher extent should be based on a more precise environmental assessment. This would give a clearer result on what is the “most” sustainable strategy for every individual company, but also how sustainability may be applied in a way that best fits the design and features of the product and the company's target group's perception of sustainability.

in english: Richterová, L. How to re-design the Teacher and the Student (Contemporary Fashion Design into Art Education) [Diploma thesis] Prague 2015 - Charles University, Faculty of Educatin, Department of Art Education, 73 pages. (Attachements: 13 files) The diploma thesis bears character of a reflective study, based on the principles of participative research, research by A/R/Tography method and pedagogical action research according to the methodology of Marie Fulková. With respect to the results of a previous bachelor thesis, the author turns attention to the subject of re-design as a possible solution to diverse intricacies occuring in school environment. The author also looks critically at contemporary DIY methods often used in arts education. The thesis also describes a re-design of a clothing artifact "Dinosaurs", an original work by the author, and reflections on realized didactic complexes, that are thematically bounded by the diploma thesis' assignment and elaboration. The aim of the diploma thesis is to map issues of re-design with focus to apparel, its didactic transformation and verification of practical functionality of the resulting didactic complex.

El Instituto Superior de Diseño gráfico y Diseño de modas es un proyecto que responde a la necesidad de la actualización del método de enseñanza del diseño y la educación superior. El usuario principal son los jóvenes de 15 a 25 años del sector B y C de Lima Norte. El lugar donde se realiza es en el distrito de Independencia donde tenga cercanía con el metropolitano que conecta a todo Lima para facilidad de acceso de los estudiantes. Su principal concepto del Instituto es que pueda estar adecuada su arquitectura con los métodos de enseñanza que se ven en otros institutos del mundo en la infraestructura, como el uso de espacios versátiles y otros principios de la enseñanza colaborativa. En lo que respecta de entorno, estos institutos buscan el contraste para su diferenciación y resaltan en el contexto y a su vez sirve como galería y paquetes públicos como auditorios, exposiciones, etc. Todo con el fin de que el estudiante tenga un espacio para la innovación y el aprendizaje desarrollado del diseño para el progreso del Perú. / The Higher Institute of Graphic Design and Fashion Design is a project that responds to the need to update the method of teaching design and higher education. The main user is young people between 15 and 25 years of age from sector B and C of North Lima. The place where it is carried out is in the Independencia district where it is close to the metropolitan that connects all of Lima to facilitate student access. Its main concept of the Institute is that it can be suitable for its architecture with the teaching methods seen in other institutes of the world in infrastructure, such as the use of versatile spaces and other principles of collaborative teaching. Regarding the environment, these institutes seek contrast for their differentiation and highlight in the context and in turn serve as a gallery and public packages such as auditoriums, exhibitions, etc. All in order that the student has a space for innovation and developed learning of design for the progress of Peru. / Tesis

Digital transformation is changing the world with new technology being employed and changing how different industries approach their operations. The pressure of transformation is felt by the fashion industry, where the design process is changing through the use of new technology, such as 3D CAD systems for developing garments. However, the transformation of the fashion industry is slow and requires technology adoption. Technology adoption brings with it challenges, such as issues with compatibility between new and old systems along with disturbances to existing work processes. Technology adoption is made even more complex as the design process is often carried out through teams, and adoption of new technology being carried out by teams rather than just by individuals working alone. As the understanding of how teams work together to adopt and implement new technology is limited, it is of interest to study how teams adopt new technology in order to understand how to shape adoption in the future and keep up with the societal changes bringing and brought by digital transformation. This study therefore aims to explore how small design teams within the fashion industry adopt technology into their design process. This is done through a case study featuring a Swedish fashion firm, currently on a digital transformation journey. The study follows design teams in an adoption project working towards implementing a 3D CAD system into their existing design process. Data in this qualitative case study has been collected through the use of semi-structured interviews, observations and the review of internal and external documentation. Collected data has then been coded and compiled into a code structure that visualizes different levels of detail of the findings. This study reveals that small design teams successfully adopt new systems into their work process by setting realistic implementation goals together, collaborating closely within and outside the teams, and learning from each other. Teams utilize a participatory ergonomics approach to set goals and perceive immediate and potential improvements, similar to established models for technology adoption research. Team dynamics facilitate technology adoption among design teams. The introduction of new technology leads to changes in team interactions, fostering a stronger team culture and promoting understanding of how adoption affects different roles' workloads. This understanding prompts team members to reevaluate task transfers, prioritize knowledge sharing, and engage in collaborative problem-solving. Together, these findings lead to the introduction of the concept of collaborative adoption, in order to incorporate the main identified aspects of team adoption into one framework. / Digital transformation förändrar världen med ny teknik som används och förändrar hur olika branscher tar sig an sin verksamhet. Denna förändring upplevs av modeindustrin, där designprocessen förändras genom användning av ny teknik, såsom 3D CAD-system för att utveckla plagg. Men omvandlingen av modebranschen går långsamt och kräver teknikadoption. Teknikadoption för med sig utmaningar, såsom problem med kompatibilitet mellan nya och gamla system samt störningar i befintliga arbetsprocesser. Teknikadoption görs ännu mer komplex eftersom designprocessen ofta utförs avteam, och adoption av ny teknik då görs av team snarare än bara av individer som arbetar ensamma. Eftersom förståelsen för hur team samarbetar med att anta och implementera ny teknik är begränsad, är det av intresse att studera hur team anammar ny teknik för att förstå hur man kan forma adoption i framtiden och hänga med i de samhällsförändringar som digitaliseringen medför och för med sig. Denna studie syftar därför till att undersöka hur små designteam inom modeindustrin adopterar teknologi i sin designprocess. Detta kommer att ske genom en fallstudie med en svensk modeorganisation som just nu befinner sig på en digital transformationsresa. Studien följer designteam i ett adoptionsprojekt som arbetar med att implementera ett 3D CAD-system i sin befintliga designprocess. Data i denna kvalitativa fallstudie har samlats in genom användning av semistrukturerade intervjuer, observationer och granskning av intern och extern dokumentation. Insamlad data har sedan kodats och sammanställts till en kodstruktur som visualiserar olika detaljnivåer av fynden. Denna studie visar att små designteam framgångsrikt tar till sig nya system i sin arbetsprocess genom att sätta upp realistiska implementeringsmål tillsammans, samarbeta nära inom och utanför teamen och lära av varandra. Tidiga användare sätter upp mål och visualiserar omedelbara och potentiella förbättringar, liknande etablerade modeller för forskning om teknikadoption. Teamdynamik underlättar teknikadoption bland designteam för tidiga användare. Införandet av ny teknik leder till förändringar i teaminteraktioner, främjar en starkare teamkultur och främjar förståelsen för hur adoption påverkar olika rollers arbetsbelastning. Denna förståelse uppmanar teammedlemmar att omvärdera uppgiftsöverföringar, prioritera kunskapsdelning och engagera sig i samarbetande problemlösning. Tillsammans leder dessa resultat till introduktionen av konceptet för samarbetsadoption, för att införliva de viktigaste identifierade aspekterna av teamadoption i ett ramverk.

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CAPES / Esta dissertação discute as articulações entre gênero, raça e cultura material na construção dos corpos de mulheres negras que passam pelo processo de transição capilar. A pesquisa está centrada no evento Afro Chic, que acontece em Curitiba e promove ações afirmativas relacionadas ao cabelo crespo e empoderamento de mulheres negras. Percebo esse evento como uma das estratégias da Geração Tombamento, movimento cultural que utiliza a moda e a estética como ferramentas políticas para desconstrução de estereótipos de raça e gênero. A partir de uma análise dos processos históricos ligados à ideologia de branqueamento no Brasil, busco compreender as rejeições e resistências a estética negra no país. Neste evento, me interessam principalmente as oficinas de tranças e turbantes, que ensinam essas técnicas e articulam seu uso à ligação com a cultura afro-brasileira, incentivando um olhar para a diversidade e para o corpo como um todo que é construído por diversos elementos, incluindo a cultura material. A pesquisa é de caráter qualitativo, tendo sido realizada observação participativa na segunda edição do evento, com registro em diário de campo e entrevistas com as facilitadoras das oficinas, com base no método de história oral e história de vida. A partir da teoria de cultura material e dos estudos de interseccionalidade, entendo tranças e turbantes como artefatos de moda e busco compreender como participam do processo de empoderamento de mulheres negras que passam pela transição capilar. Estes artefatos também constroem e desconstroem, marcam gênero e raça nos corpos e, deste modo, argumento que o uso de tranças e turbantes no processo de transição capilar é uma das propostas de “desbranqueamento” dos padrões estéticos no Brasil e estratégia de resistência ao racismo. / This dissertation discusses the articulations between gender, race and material culture in the black women’s bodies construction who undergo the process of hair transition. The research is centered on the Afro Chic event, which happens in Curitiba and promotes affirmative actions related to curly hair and black women’s empowerment. I perceive this event as one of the strategies of the Tombamento Generation, a cultural movement that uses fashion and aesthetics as political tools for the deconstruction of race and gender stereotypes. By an analysis of the historical processes related to the bleaching ideology in Brazil, I try to understand the rejections and resistances of the black aesthetics in the country. In this event, I am interested mainly in the braids and headwraps workshops, which teaches these techniques and articulate their use in connection with the Afro-Brazilian culture, encouraging a look at diversity and for the body as a whole constructed by different elements, including material culture. The research is qualitative, with participatory observation in the second edition of the event, with a field journal and interviews with the facilitators of the workshops, based on the method of oral history and life history. By the theory of material culture and intersectionality studies, I understand braids and turbans as fashionable artifacts and try to understand how they participate in the process of empowering black women who undergo the hair transition. This artifact also construct and deconstruct gender and race in the bodies and, therefore, I argue that the use of braids and turbans in the process of capillary transition is one of the proposals of "unbleaching" of Brazilian aesthetic standards and racism’s resistance strategy.

CAPES / Esta dissertação discute as articulações entre gênero, raça e cultura material na construção dos corpos de mulheres negras que passam pelo processo de transição capilar. A pesquisa está centrada no evento Afro Chic, que acontece em Curitiba e promove ações afirmativas relacionadas ao cabelo crespo e empoderamento de mulheres negras. Percebo esse evento como uma das estratégias da Geração Tombamento, movimento cultural que utiliza a moda e a estética como ferramentas políticas para desconstrução de estereótipos de raça e gênero. A partir de uma análise dos processos históricos ligados à ideologia de branqueamento no Brasil, busco compreender as rejeições e resistências a estética negra no país. Neste evento, me interessam principalmente as oficinas de tranças e turbantes, que ensinam essas técnicas e articulam seu uso à ligação com a cultura afro-brasileira, incentivando um olhar para a diversidade e para o corpo como um todo que é construído por diversos elementos, incluindo a cultura material. A pesquisa é de caráter qualitativo, tendo sido realizada observação participativa na segunda edição do evento, com registro em diário de campo e entrevistas com as facilitadoras das oficinas, com base no método de história oral e história de vida. A partir da teoria de cultura material e dos estudos de interseccionalidade, entendo tranças e turbantes como artefatos de moda e busco compreender como participam do processo de empoderamento de mulheres negras que passam pela transição capilar. Estes artefatos também constroem e desconstroem, marcam gênero e raça nos corpos e, deste modo, argumento que o uso de tranças e turbantes no processo de transição capilar é uma das propostas de “desbranqueamento” dos padrões estéticos no Brasil e estratégia de resistência ao racismo. / This dissertation discusses the articulations between gender, race and material culture in the black women’s bodies construction who undergo the process of hair transition. The research is centered on the Afro Chic event, which happens in Curitiba and promotes affirmative actions related to curly hair and black women’s empowerment. I perceive this event as one of the strategies of the Tombamento Generation, a cultural movement that uses fashion and aesthetics as political tools for the deconstruction of race and gender stereotypes. By an analysis of the historical processes related to the bleaching ideology in Brazil, I try to understand the rejections and resistances of the black aesthetics in the country. In this event, I am interested mainly in the braids and headwraps workshops, which teaches these techniques and articulate their use in connection with the Afro-Brazilian culture, encouraging a look at diversity and for the body as a whole constructed by different elements, including material culture. The research is qualitative, with participatory observation in the second edition of the event, with a field journal and interviews with the facilitators of the workshops, based on the method of oral history and life history. By the theory of material culture and intersectionality studies, I understand braids and turbans as fashionable artifacts and try to understand how they participate in the process of empowering black women who undergo the hair transition. This artifact also construct and deconstruct gender and race in the bodies and, therefore, I argue that the use of braids and turbans in the process of capillary transition is one of the proposals of "unbleaching" of Brazilian aesthetic standards and racism’s resistance strategy.

This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.