Denna studie är ett examensarbete utfört under sista året av tre på Sportteknologiprogrammet vid Mittuniversitetet i Östersund. Syftet med studien är att ge det svenska klädföretaget Didriksons svar på frågan om vilken av de vadderingar använda i deras produktion besitter bäst isoleringsförmåga och vilka faktorer som kan påverka den. Målet var att kunna presentera ett fullgott resultat från alla studier för Didriksons som de senare förhoppningsvis kan ha hjälp utav i sin fortsatta produktutveckling. För att besvara frågan har tester av 9 likvärdiga jackor tillverkade med olika isoleringsmaterial och konstruktionsprinciper utförts i laboratorium, bland annat i kylkammaren på Nationellt Vintersportcentrum tillsammans med vindtunneln och textillaboratoriet på Sports Tech Research Centre vid Mittuniversitetet i Östersund. Testerna har inte följt någon standard utan är utvecklade tillsammans med studenten, Didriksons och personer med expertis inom området vid universitetet. Undersökningen har visat att den jacka som hade den bästa isoleringsförmågan var den isolerad med syntetiskt dun. Studien har också påvisat att så kallade cold spots, i form av sömmar, dragkedjor och andra attiraljer som på något sätt stör vadderingen, har stor påverkan på isoleringsförmågan. Jackor med samma typ av isolering men med olika mängd av cold spots har presterat bäst respektive sämst i testerna. De olika vadderingarna har även undersökts i laboratorium för att se dess vindtäthet och analysera dess mikrostruktur, allt för att skapa förståelse för materialens olika egenskaper. / This study is a thesis during the last semester of three years at the SportsTechnology program at the Mid Sweden University in Östersund. Theaim of the study is to give the swedish clothing brand Didriksons ananswer to the question of which padding used in their production thathas the best thermal insulation properties and which factors that mayhave an impact on it. The goal for this study is to present a satisfactoryresult for Didriksons from all the executed tests combined which laterhopefully will help them within their product development. To answerthat question, nine equal jackets with different isolation materials andways of construction have been tested in various laboratories such as thecold chamber at National Wintersport Centre and the wind tunnel atSports Tech Research Centre all within the Mid Sweden University. Thetests have not been according to any ISO-standards or such, but hasbeen produced by the student together with Didriksons and researcherswith expertise within the subject at the university. Studies showed thatthe jacket with the best thermal isolation property was the onefabricated with synthetic down. The study also showed that so calledcold spots, stiches, zippers and so on, may affect the padding whichresults in a big negative impact to the thermal isolation, especially whenthe garment is exposed to wind. Jackets with the same type of paddingbut different amounts of cold spots have delivered the best and theworst results during the tests. The different paddings have also beeninvestigated in laboratories to see how they withstand wind and toanalyze their micro structure. All this to get a better understanding ofthe materials and its various properties.

No description available.

Thesis (MSc)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Introduction: Pressure garment therapy (PGT) forms a significant part of burn rehabilitation. It is most commonly used to treat hypertrophic scars but the benefits of this intervention remain questionable. Adherence with this intervention also presents several challenges for the patient and clinician. Aim of the study: The aim of this study was to explore the experiences of adult burn survivors who participated in PGT during 2006 - 2010 at Tygerberg Academic Hospital (TAH). Methods: A phenomenological study design using qualitative research methods was implemented. Semi-structured interviews were conducted with eight burn survivors. The participants were chosen using purposive sampling methods. Thematic analysis was conducted using pre-determined themes from the literature as a starting point. Data was coded and categorised according to themes that emerged during data analysis. Results: The findings of the study revealed that several factors impacted on the participant’s experiences of pressure garment therapy. Factors related to the consequences of the burn injury included the participant’s loss of function, loss of participation, loss of self-confidence, financial dependence, emotional impact and impact on relationships. Factors related to pressure garment usage included physical effects, socio-emotional effects and the wearing schedule (which included maintenance and effort, adherence and time). Factors that contributed to adherence included support, inner strengths, knowledge, seeing a difference, seeing others, enablers to accessing the service and satisfaction with the service. Factors that contributed to non-adherence included lack of support, emotional turmoil and barriers to accessing the service. Participants made recommendations to improve the overall burn service at TAH. Conclusion: The findings of the study show that participants experienced PGT as a beneficial intervention. There were several complex factors that impacted the participants’ experiences of PGT. The most significant benefit as described by the participants was the improvements noted in scar appearance, whilst the main barrier was that the garments were cosmetically displeasing due to their colour.Recommendations: To adopt a person-centred approach to burn management, recommendations made include improvements needed within the occupational therapy service such as changing the colour of the garment material, the standardisation of the PGT treatment protocols and improving staff attitudes. Other recommendations include establishing a network for counselling services as well as an information pack for patients admitted to the burns unit. / AFRIKAANSE OPSOMMING: Drukklereterapie vorm ʼn belangrike deel van die rehabilitasie van brandwonde. Dit is die mees algemene behandeling vir hipertrofiese littekens, maar daar bestaan steeds twyfel aangaande die voordele van hierdie intervensie. Daar bestaan heelwat uitdagings, vir beide die terapeut en die pasiënt, om die behandelingsriglyne na te volg. Doel van die studie: Die doel van hierdie studie was om die ervarings van volwasse brandwond oorlewendes wat vanaf 2006 tot 2010 drukklereterapie by Tygerberg Akademiese Hospitaal ontvang het, te ondersoek. Metode: ʼn Fenomenologiese studie ontwerp is geimplïmenteer deur middel van kwalitatiewe navorsingsmetodes. Semi-gestruktureerde onderhoude is met agt brandwond oorlewendes gevoer. Die deelnemers is gekies deur doelgerigte steekproefneming metodes. Tematiese analise is uitgevoer met behulp van voorafbepaalde temas wat as beginpunt uit die literatuur geneem is. Data is gekodeer en gekategoriseer volgens temas wat na vore gekom het tydens data analise. Resultate: Die bevindings van die studie het aangedui dat verskeie faktore die deelnemers se ervarings van drukklereterapie beïnvloed het. Faktore wat met die gevolge van die brand beserings verband hou het die volgende ingesluit: verlies aan funksie, verlies aan deelname, verlies aan selfvertroue, finansiële afhanklikheid, emosionele impak en die impak op verhoudings. Die volgende faktore het verband gehou met die gebruik van drukklere: fisiese faktore, sosio-emosionele faktore en die dra skedule (dit sluit in onderhoud van die drukklere, moeite, volg van die dra skedule en tyd). Faktore wat bygedra het tot die navolging van die skedule het die volgende ingesluit: ondersteuning, innerlike krag, kennis, die sien van ʼn verskil, sien van ander, toegang tot die diens en tevredenheid met die diens. Die volgende faktore het bygedra tot nie-navolging: gebrek aan ondersteunning, emosionele verwarring en hindernisse tot toegang tot die diens. Deelnemers het aanbevelings gemaak om die brandwonde diens te verbeter. Slot: Die bevindings van die studie dui daarop dat die deelnemers drukklereterapie as ʼn voordelige intervensie ervaar het. Daar was verskeie komplekse faktore wat ʼn impak op drukklereterapie gehad het. Die grootste voordeel, soos beskryf deur deelnemers, was die verbetering in litteken voorkoms; terwyl die hoof hindernis was dat die drukklere kosmeties onaanvaarbaar was as gevolg van die kleur. Aanbevelings: Die volgende aanbevelings is gemaak om ʼn persoon-gesentreerde benadering tot brandwond behandeling te verseker: verbeterings benodig binne die arbeidsterapie diens, soos die verandering van die kleur van drukkleremateriaal, die standaardisering van drukklereterapie protokolle en die verbetering van personeel houdings. Ander aanbevelings sluit in ʼn netwerk vir beradingsdienste, sowel as ʼn inligtingspakket vir pasiente wat tot die brandwondeenheid toegelaat word.

[pt] Esse trabalho tem por objetivo jogar luz sobre o comércio de moda feminina em Copacabana no final dos anos 1940 e anos 1950, dando enfoque principalmente à Celeste Modas. A partir de entrevistas com pessoas que trabalharam com moda nessas décadas; da pesquisa em jornais e na revista Rio Magazine; e de fotos antigas das lojas mais renomadas do Centro da Cidade, então principal comércio de moda feminina no Rio de Janeiro, buscou-se entender o quanto as casas que surgiram em Copacabana no período se basearam no modelo físico e na forma de produção de vestuário estabelecidas pelas distintas lojas do Centro; e o quanto elas se adaptaram ao imaginário simbólico de Copacabana e às ideias de modernidade e distinção do período. / [en] This work aims to enlighten about the womenswear retail businesses in Copacabana in the late 1940s and 1950s, in particular about Celeste Modas. Drawing from interviews with professionals who worked in fashion at the time; going through newspapers from the period and Rio Magazine; and using antique photos of Rio s most renowned shops in the city Centre (the main shopping area at the time), it aimed to understand to which extent the Copacabana boutiques relied on the retail and production model already in place in the Centre, and how much they adapted their retail businesses to fit into the symbolic conception of Copacabana and the ideas of modern and luxury of the period.

This works explores how to work with Event scores as a design method. In the search for what is real or what is reality the already existing things are being explored. The work started with investigating suitable ways to work with the moving body in the design process, with the aim to find a method that gave control but also left some parameters to the undecided and ambiguous. Convinced that this will lead to something new some parts of the process were highlighted and re-formulated. / Program: Modedesignutbildningen

Textilindustrin är en industri som ständigt växer och utvecklas. År 1995 introducerade det japanska företaget Shima Seiki den första maskinen med de tekniska egenskaperna, som gjorde det möjligt att producera ett trikåplagg med complete garment teknik. Denna introduktion revolutionerade tillverkningstekniken för dessa plagg. Denna studie har skrivits som ett examensarbete på kandidatnivå inom Textilingenjörsprogrammets avslutande del på Högskolan i Borås. Studiens huvudsakliga syfte var att undersöka vilket produktionssätt som var mest effektivt tidsmässigt vid produktion av ett plagg i finstickad trikå, ur ett supply chain perspektiv. Två olika tillverkningsmetoder valdes ut, konventionell och complete garment. Jämförelsen baserades på tidsbedömning av tillverkningsmetodernas supply chain som undersöktes med hjälp av en värdeflödesanalys. Plagget som valdes ut var en tröja, i finstickad trikå, och utifrån detta utfördes en litteraturstudie med fokus på olika produktionsmetoder och logistik. Med utgångspunkt i litteraturstudien upprättades två varianter av varuflöden till de olika tillverkningsmetoderna. En tidsstudie utfördes grundat på de två olika varuflödena, som baserades på egna studier i kombination med intervjuer av experter inom området. Sammanställning av tidsstudien och värdeflödesanalysen visade att det fanns för- och nackdelar med de båda tillverkningsmetoderna. En nackdel som framkom var non-value-added faktorerna väntetid och planering inför produktion, som visade sig vara svåra att undvika i de båda tillverkningsmetoderna. Fördelarna var att de non-value-added faktorerna i complete garment tillverkningens supply chain kunde kortas ner. Efter analys av vilka krav som ställdes, på non-value-added faktorerna för varuflödet hos respektive tillverkningsmetod, kunde slutsatsen dras att complete garment tillverkningens varuflöde är att föredra om man ville ha en snabb påfyllnad av varor till butik utan att ha varorna på lager. / Program: Textilingenjörsutbildningen

Longtemps figé dans l'immobilité, le portrait peint de la Renaissance va s'animer grâce à une gestuelle qui fit l'objet d'une construction progressive. Très précoce, l'idée du geste: est présente dès 1440 chez Filippo Lippi dans les portraits féminins, à partir de 1450 chez Andrea del Castagno pour une effigie masculine et, en 1470, chez Antonello da Messina pour les mimiques. Mais la norme est au portrait en buste et d'autres freins, imposés par les commanditaires, perdureront jusqu'à la fin du XVIe siècle. En dépit des tentatives dissidentes d'Antonello da Messina, de Léonard de Vinci, ou, plus tard, de Bartolomeo Passerotti, c’est le modèle princier qui va s'imposer.Trois types d'écrits de l'Antiquité se préoccupent de l'apparence du corps et de la civilisation des mœurs : les préceptes éducatifs, souvent intégrés à des thèmes plus vastes, les traités de physiognomonie qui tentent de lire sur le visage les intentions ou la destinée de l'autre, et la rhétorique, qui s'intéresse plus particulièrement à l'ethos, au pathos mais aussi à la gestuelle de l'orateur. Ces textes seront reçus à la Renaissance dans divers domaines qui traitent tous, à un moment ou un autre, du geste. Les traités des éducateurs du Quattrocento, qui jalonnent la mise en œuvre d’une véritable réforme, cèderont la place aux manuels de savoir-vivre du XVIe siècle. A partir de 1455, les maîtres à danser lombards posèrent par écrit les premiers éléments d'une théorie de la danse. Les traités artistiques s'intéressèrent au decorum dans lequel s'inscrit le geste. Au tout début du XVIIe siècle, un certain nombre de conventions furent enregistrées dans des recueils illustrés de chironomie. Loin de considérer le doigt, la main ou les membres comme des détails sémantiques, cette thèse montre que la gestuelle est un signal social à replacer dans son environnement. Elle s’est ouverte sur l’histoire de l’éducation, centrale dans celle du geste, ainsi que sur celle du genre, ou encore de la place de l’enfant et de la parentalité. Une place importante a été consacrée à l’histoire du costume, celui que l’on a choisi pour ces images. Au terme de ce travail, il devient évident que le Moyen Âge n’est pas la seule période à avoir vu se développer une "civilisation du geste". L'analyse des textes, de l’Antiquité comme de la Renaissance, révèle une remarquable continuité dans la conception et les théories relatives à la gestuelle, sous-tendue par l'Institution Oratoire, particulièrement la partie traitant de l'actio. Quintilien eut une réception de longue durée dans les arts de la prédication et, de manière plus subtile, ses qualités d’éducateur et d’observateur de l'enfance ont également favorisé sa transmission dans le cadre pédagogique. Cet auteur enseignait l’utilisation programmée du geste pour appuyer le discours, pointant comme un défaut la négligence dans "la toge, la chaussure et le cheveu". Déjà pour lui, ce soin devait être imperceptible, l’éducation et l’apprêt physique devenant comme une seconde nature, la sprezzatura avant l'heure. Parcourant nos images, la référence à l'actio qui s'est imposée depuis l'Antiquité dans l'éducation, l'expression, la représentation imagée ou théâtrale, rend compte de la précocité de cette civilisation et de sa pérennité dans le temps. Le geste s’impose comme un patrimoine vivant, transmis le plus souvent de manière inconsciente de siècle en siècle, par le biais d’une multitude de canaux et de disciplines, parmi lesquels on compte le portrait, à la fois récepteur et vecteur. / The portrait, long considered as a rigid pictorial genre, became increasingly lively through the progressive introduction of gestural expression. This idea appeared as early as 1440 in Filippo Lippi’s female portraits, in 1450 in Andrea del Castagno’s painting of a man and in 1470, in Antonello da Messina’s mimes. But the standard surrounding is bust-length portraiture and other restrictions on movement, imposed by the commissions, lasted until the 16th century. Despite various dissenting works, such as those of Antonello da Messina, Leonardo Da Vinci, or later, Bartolomeo Passerotti, the Princely model held sway.In Antiquity, three literary categories, each with a different approach, addressed the appearance of the body and civilization of the customs : educational precepts often contained within vaster literary works, physiognomic treatises — which attempt to read from faces an individual’s intentions and destiny — and rhetorical studies which, in particular, concern the ethos and the pathos, but equally the orator’s gestures. During the Renaissance these three disciplines all influenced various domains, which are interested, at one point or another, in the gesture. The Quattocento’s didactic treatises, which paved the way for a true reform, were replaced by manuals of etiquette in the 16th century. From 1455, the Lombard dancing masters wrote the initial elements of a theory of dance. Artistic treatises on painting and sculpture insist on the decorum which included gesture. At the very beginning of the 17th century, a certain number of modern conventions were recorded in illustrated collections of chironomy.Far from considering the finger, the hand or the members as semantic details, this thesis shows that body movement is a social signal to be placed back in its environment. It open on the history of education, central in that of gesture, as well as on that of the genre, or still the place of children and the parenthood. An important place was dedicated to the history of the garment, the one that was chose for these pictures.Through this work, it becomes obvious that the Middle Ages are not the only period to have seen developing a "civilization of the gesture". The analysis of texts, of Antiquity as of Renaissance, reveals a remarkable continuity in the conception and the theories relative to the body movements, underlain by the Oratorical Institution, particularly the part dealing with the actio. Quintilien had a long-term reception in the arts of preaching and, in a more subtle way, his qualities of educator and observer of the childhood also favoured his transmission in the educational frame. This author taught the use scheduled of the gesture to support the speech, considering a defect the carelessness in "the toga, the shoe and the hair". Already for him, this care was to be imperceptible, the education and the body care becoming as a second nature, the sprezzatura before time. Browsing our images, the reference to the actio that got established since Antiquity in education, expression, and both pictorial and theatrical imagery, acknowledges how precocious that civilization was and how perennial it has been.The gesture is asserted as a living heritage, transmitted more or less consciously through time, through a myriad of conduits and disciplines, including the portrait, both as recipient and vector.

Lines are a fundamental part of visual perception. This work explores how to conceptually work with lines as guildelines when constructing garments. The aim is to investigate the dynamics of straight lines through experimental construction of dress.This dissertation is conducted through experimental artistic research. The main applied method is constructing from striving line compositions to three-dimensional shape. Other line properties, such as angle, width or length became influential variables in creating form and dynamic in combination with the choice of colour and fabric. Line compositions can provide strong dynamics given it’s put in relation to body and movement. / Program: Modedesignutbildningen

<p>Internet is one of the major achievements of 21 century by human kind. Retailers have moved their business towards a global market through internet. Human computer interaction is getting enhanced in different contexts. Consumers can now access the global markets online for the sake of shopping. Fashion industry is getting tremendous popularity in an online environment. Fashion is transformed into digital fashion where people from all over the world have easy access to the world of fashion and can interact and get hands on every piece of art. They can simply buy any fashion product anywhere in the world. The most important part in this domain is the interaction of the consumer with the media for the sake of spending money for goods having a fashion designer at the back end. So here the interaction needs to be precise and specific, especially when it comes to the sizing phase of the activity called shopping garments online. This paper investigates the current sizing trends offered by online fashion retailers and proposes the preferred state interface in order to discover the facts that enables consumers to finalize perfect size for them. The focus is on female users. The results will lead to understanding of the cause of confusion that consumer faces in selecting right size while shopping garments online.</p>

Internet is one of the major achievements of 21 century by human kind. Retailers have moved their business towards a global market through internet. Human computer interaction is getting enhanced in different contexts. Consumers can now access the global markets online for the sake of shopping. Fashion industry is getting tremendous popularity in an online environment. Fashion is transformed into digital fashion where people from all over the world have easy access to the world of fashion and can interact and get hands on every piece of art. They can simply buy any fashion product anywhere in the world. The most important part in this domain is the interaction of the consumer with the media for the sake of spending money for goods having a fashion designer at the back end. So here the interaction needs to be precise and specific, especially when it comes to the sizing phase of the activity called shopping garments online. This paper investigates the current sizing trends offered by online fashion retailers and proposes the preferred state interface in order to discover the facts that enables consumers to finalize perfect size for them. The focus is on female users. The results will lead to understanding of the cause of confusion that consumer faces in selecting right size while shopping garments online.