M.Tech. (Fashion) / Advanced studies in fashion design in South Africa have attracted little interest. Master’s studies are limited and doctoral studies are almost non-existent. This situation has resulted in the academic vulnerability of the discipline as a creative and commercial practice. In order to promote and expand research activities and advanced studies within fashion design at the University of Johannesburg, this study contends that it is necessary to develop a systematic understanding of the theoretical and practicing manifestations of fashion design in relation to the nature and process of design and fashion systems. In order to develop a deeper understanding of the interconnection between theory and practice, this study adopts a thematic style and a qualitative methodological approach to the examination of fashion design from the perspectives of history, theory and practice. The study synthesises key ideas from these areas and applies relevant frameworks to review the South African fashion system and to determine the theoretical orientation of selected advanced studies and research activities pursued over the last decade. The study proposes that considerations for the theoretical grounding of advanced studies in fashion design that could be taken into account include the need to: encourage an approach that accommodates the broader theoretical and practical dimensions of fashion design when engaging in advanced studies and research activities; view fashion design within the constellation of specialist design practices integral to ideas of a unitary discipline which could underpin and enrich advanced studies; adopt forward-oriented theoretical foundations for research and advanced studies which would ensure greater and more meaningful connections to practice; develop third- and fourth-order design theory and thinking in advanced studies in any discipline of design; take cognisance of developments in design theory concerning the nature and context of design problems and ensure an understanding of fashion systems and the multiple positioning of fashion designers within such systems.

This study investigated the (1) relationship of students' family and educational background to their opinions of fashion retailing as a career, and (2) preferences for fashion retail job attributes in relationship the appeal of fashion retail job profiles. A sample of 131 fashion merchandising students from five state-funded universities completed a four-part survey which measured two independent variables: student background and preferences of fashion retail job attributes and two dependent variables: opinions of fashion of retailing as a career and the appeal of fashion retail job profiles. Analyses included multiple regression, t-test, and correlations. For opinions of fashion retailing as a career, parental background was not significant while attendance at a retailing course, semester hours completed and G.P.A. had limited relationships. Fashion retail job attribute preferences were related to the appeal of fashion retail job profiles; the most preferred attribute was high personal freedom.

This thesis examines the promotion of the British fashion industry in the underexplored genre of non-fiction British fashion film. Whilst critical attention has been paid to the role of fashion within fiction film, and costume within historical drama, the significance of fashion in non-fiction, state-sponsored British film has passed largely without exploration. The threshold of fact and fiction is the site of investigation in this analysis of film and media materials, that draw on fairy tale narratives of transformation to produce fashion as the 'integration of the two worlds of reality and imagination' (Bettelheim, 1975). The main focus of my analysis is a body of texts ranging from the forties to the present day. The corpus of study consists of films produced by British Pathé and the Central Office of Information (COI), film, televisual, and DVD outputs of royal weddings, and the BBC's live television broadcast of the 2012 Olympic Games. Fashion has a reputation for facilitating change and performing makeovers, and the texts studied here present three levels of transformation, powered by the magical fiction of fairy tales, the transformative potential of capitalism, and the renewing capabilities of the fashion industry. These texts demonstrate the way fashion stories are used to negotiate key historical junctures in British identity, finding in the structure of the fairy tale a way to articulate an economy of renewal that can be harnessed to a national, ideological state agenda aimed at women. This thesis argues that national events are commandeered as platforms for officially sponsored tales of Britain's heritage, which testify to the importance of fashion to the British economy and its role in political strategy.

No description available.

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 164-173). Also available via the Internet.

Thesis (Ph. D.)--Ohio State University, 2007.

The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant social impacts to production workers. The move towards a more sustainable industry is a complex challenge and will be based on circular and social systems that prioritise values, collaboration and empathy for the environment and all stakeholders. This research defines the move towards a more sustainable fashion textiles industry as a transition that operates across environmental, social, and human domains. At the human level, the transition is an emergent process that involves both ‘inner’ and ‘outer’ dimensions (Maiteny & Reed 1988). For fashion textile designers, this process will demand new ways to practice and engage with the sustainability agenda, including the ‘outer’ dimensions of better materials or more ethical production models; and the ‘inner’, reflective dimensions of values and the self. This research proposes new roles for designers in these transitionary contexts, through craft-based fashion textile design practice. The practice projects presented in the thesis demonstrate three new roles that evolve through the sustainable design continuum to the highest level of Design for Social Equity (Manzini & Vezzoli 2008), where designers will support all stakeholders towards systemic, sustainable change. The practice projects reveal a collaborative and inter-disciplinary approach to fashion textile design practice in industry, local communities and the global supply chain. The research draws on a range of literature from sustainability theory, design/craft thinking, and psychology. The mixed methodology includes an action–research phase of collaborative practice projects, facilitation of workshops with designers in industry, and a reflective phase of textile making and writing. A model for the Transitionary Textile Designer is presented as a final outcome. In order for fashion textile designers to practice in transitionary contexts ‘beyond the swatch’, the research presents new methods and tools to connect individual values to social values inherent in the transition towards sustainability.

El presente proyecto de carteras para mujeres estudiantes de universidades e institutos y amas de casa nos ha permitido validar el problema asumido en base a información recopilada en el análisis al sector al que se dirige nuestro producto, el NSE “C”. De esta manera, logramos detectar que las mujeres pertenecientes a este nivel no contaban con los recursos necesarios para adecuarse al cambiante mundo de la moda. En la actualidad, el sector de la moda y la belleza presenta cambios constantemente, debido a que existen diversos diseñadores y marcas que año tras año lanzan nuevos productos al mercado, generando tendencia y atracción por parte de las mujeres de todo el mundo. Sin embargo, existen muchas categorías de productos en este sector que presentan precios muy elevados para personas que reciben una remuneración mínima o que no generan ingresos mensuales. A partir de ello, se analizaron los diferentes productos ofrecidos en este sector, siendo las carteras producto elegido para su elaboración y venta, debido a que es muy requerido por las mujeres y se espera que su nivel de consumo aumente en los siguientes años. Queen Bags lanzará al mercado un amplio catálogo de carteras elaboradas en base a los gustos y preferencias de los clientes. Asimismo, destacará por la variedad de diseños ofrecidos, el lanzamiento de nuevos catálogos por cada estación y la relación calidad-precio de los productos finales. El negocio iniciará sus operaciones en el año 2019 y para su puesta en marcha los accionistas realizarán una inversión total de S/12,719 conformada por la compra de activos y aporte de efectivo. / The present project of handbags for women students of universities and institutes and housewives has allowed us to validate the problem assumed based on information gathered in the analysis to the sector to which our product is directed, the NSE "C". In this way, we managed to detect that women belonging to this level did not have the necessary resources to adapt to the changing world of fashion. Currently, the fashion and beauty sector are constantly changing, because there are several designers and brands that year after year launch new products to the market, generating trend and attraction for women around the world. However, there are many categories of products in this sector that present very high prices for people who receive a minimum remuneration or who do not generate monthly income. From this, the different products offered in this sector were analyzed, with the bags being the product chosen for its preparation and sale, because it is very required by women and it is expected that its level of consumption will increase in the following years. Queen Bags will launch to the market a wide catalog of handbags elaborated based on the tastes and preferences of the clients. Likewise, it will stand out for the variety of designs offered, the launching of new catalogs for each station and the quality-price ratio of the final products. The business will start operations in 2019 and for its start-up the shareholders will make a total investment of S/12,719 formed by the purchase of assets and cash contribution. / Trabajo de investigación

<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.