Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010. / This project looks at the union between the inspiration and the application from our indigenous cultures and the field work that took place at The Keiskamma Organisation with correlation of these to 'Slow Design'. The inspirations drawn from aspects of these sources are to be implemented in a practical form. 'Slow Design' outlines how and why it is vital today to refer to our indigenous cultures in terms of forms and processes in their material culture, as well as their way of life. By doing so today's society and environment can improve. This research has drawn upon all these aspects to inspire the establishment of a range of contemporary and eco- friendly handbags. This handbag range is inspired by the Xhosa cultures process of designing from nature and ones surroundings and producing by hand through a sustainable manner like 'slow design' encourages.

The purpose of this study was to develop an instrument to be utilized in dating and identifying extant handbags between 1855 and 1910. The objectives were, first, to develop a tool to aid the researcher in examining the handbags found; and second, to develop the instrument. Using content analysis, a number of primary source references focusing on women, fashion, and needlework were examined. Following the content analysis, seriation was used to organize the data for analysis and interpretation. From the histograms provided by the seriation, the Authentication instrument was developed. ln the first part, the Style Timeline, the information necessary to identify a handbag and assign a general date is supplied. Five styles of handbags were recognized: chatelaine bags and aumonieres; miser's purses; pocketbooks; chatelaine, neck and finger purses; and, wristbags. The second part of the instrument, the Style Analyses, then provides detailed discussions of each style allowing more specific dates to be established. These analyses also include descriptive material such as what the bag may have cost, or an etiquette surrounding its use. From the study, it became apparent that handbags were effected most profoundly by two factors: dress styles and the growing independence of women. Furthermore, these bags were also influenced by changes in commerce, industry, foreign trade, and economic prosperity of the country. Each new decade brought with it new beliefs, fashions, and tastes influenced by the social, economic, and political events of the time. Therefore, as ideas of what was fashionable and what was not changed with the times, so did the handbag. / M.S.

This creative project resulted in five metal handbags, each based on a specific period from art history: Egyptian, Classical, Art Nouveau, Art Deco and Memphis. These styles range from early human history to contemporary times and possess very explicit and identifiable motifs. They maintain links to each other and impact design to this day.The project culminates in an exhibit. A brief description of the relevant era is printed on attached tags to generate mini art history lessons. People who see or use the handbags will gain exposure to art history they may not otherwise seek out, potentially piquing their curiosity. The aim is to sell all five handbags so they may demonstrate that art history is a vital part of human history because it continues to inform and inspire a spectrum of endeavors from advertising and fashion to engineering and design. / Department of Art

The central focus for this creative project was to explore the possibilities of found object and recycled art with emphasis on function and design. After researching the art and the artists who made/make it, a collection of functional art was created. The project resulted in a body of work that consisted of thirteen bags and purses that were made from gift cards and gameboards. The design of 1970's and 1980's art was used as inspiration. Traditional metalsmithing techniques were required for the completion of each work. Copper wire was used as both a structural and ornamental element. The awareness of recycled art will be heightened. Found object and recycled art is significant, purposeful, and important in both the history and future of art. / Department of Art

This thesis investigates whether luxury handbags in secondary markets make for viable invesments. Reasoning for the investment potential of designer handbags is primarily based on the excessive retail price increases of luxury goods. Prices of handbags were collected from FashionPhile, a source that provides product authentication. The analysis attempts to understand characteristics of the FashionPhile market and how prices changed from April 28, 2006 to March 2, 2011. This thesis identifies which brands and models of handbags had the highest returns and which brands have the highest resale potential. Insight into when the highest and lowest market prices for handbags occurred for each brand is also included.

My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009. / The purpose of the thesis is to contextualise my art works in theoretical terms. As counterpart to my art practice and consistent with its subject matter, the thesis deals with the handbag as subject and investigates the formation of an idiomatic, metaphorical or symbolic visual language that emerges in my handbag Collections. The thesis traces how such language pertains to social, cultural and personal history as sources of its conception to also serve as foundation for the conception of my art works. Its central questions are formulated around ‘how’, thus investigating the formative, the developmental and the process. Its thinking is relativist, embracing the belief that no option is absolute, but rather as susceptible to change as it is open to interpretation. As events of change and change inducing events, developmental processes are posed in a framework of generative structuralism that comprises the internalisation of externalities and the externalisation of internalities. As such it structures an attempt to define the genesis of my aesthetic idiolect in and from a cultural context. The thesis therefore posits its secondary aims as investigative rather than determinist of how social and cultural context informs my art-making processes and how generation and development occur in my art-making processes in order to determine how these factors contribute to a personal voice becoming evident in my work. My art practice and art works serve as primary sources of information and the thesis partially serves as a process of textual re-articulation of my own art-making practices to reveal the relationships between habitus as generative structure, enaction of identity and aesthetic idiolect.

El trabajo de investigación nace de un análisis sobre la problemática ambiental y social que afecta la vida de los seres vivos y de las comunidades peruanas. En ese sentido, uno de los principales problemas ambientales está relacionado con los residuos contaminantes que se necesitan para producir carteras de cuero y sintéticos. El uso indiscriminado de este tipo de materiales en la industria de la moda genera inestabilidad en el ecosistema. Frente a esta problemática, se propone un modelo de negocio relacionado a la comercialización de carteras de fibra vegetal por redes sociales para un nicho ecológico de mujeres que se preocupan por tener accesorios eco amigables en Lima Metropolitana. La elaboración de las carteras de fibra vegetal será de responsabilidad de la Asociación de Tejedoras Ñari Walac Arte, las cuales, son representadas por un grupo de tejedoras de la provincia de Piura, Catacaos. Punto fundamental de nuestro modelo de negocio es la exposición del talento de las tejedoras del norte del Perú. El proyecto contempla la evaluación financiera para los próximos 3 años, la cual inicia a mediados del 2020. Para el inicio de operaciones se necesita una inversión de S/44,193, y se espera una rentabilidad de S/57,421 a finales del tercer año en el Flujo de Caja Económico y una rentabilidad de S/59,716 en el Flujo de Caja Financiero. La tasa interna de retorno representa el 26.4% recuperándose la inversión en 2.5 años considerando un crecimiento económico moderado debido a la pandemia por el COVID-19. La estructura financiera está conformada por 65% de capital propio y 35% financiado a través de una Fintech. El proyecto presenta una perspectiva financiera positiva para los inversionistas, así como permite el desarrollo de las comunidades y promueve el consumo responsable de productos ecológicos. / The research work stems from an analysis of the environmental and social problems that affect the lives of living beings and of Peruvian communities. In this sense, one of the main environmental problems is related to the polluting residues that are needed to produce leather and synthetic wallets. The indiscriminate use of this type of material in the fashion industry generates instability in the ecosystem. Faced with this problem, a business model related to the commercialization of vegetable fiber handbag through social networks is proposed for an ecological niche of women who worry about having ecofriendly accessories in Metropolitan Lima. The production of vegetable fiber handbags will be the responsibility of the Ñari Walac Arte Weavers Association, which are represented by a group of weavers from the Piura province, Catacaos. Fundamental point of our business model is the exhibition of the talent of weavers in northern Peru. The project contemplates the financial evaluation for the next 3 years, which begins in mid-2020. An investment of S / 44,193 is required for the start of operations, and a profitability of S / 57,421 is expected at the end of the third year in Economic Cash Flow and a profitability of S / 59,716 in Financial Cash Flow. The internal rate of return represents 26.4%, recovering the investment in 2.5 years considering a moderate economic growth due to the pandemic by COVID-19. The financial structure is made up of 65% of its own capital and 35% financed through a Fintech. The project presents a positive financial perspective for investors, as well as allows the development of communities and promotes the responsible consumption of organic products. / Trabajo de investigación