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Dissertations / Theses on the topic 'Art and fashion'
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Dorosh, Daria. "Patterning : the informatics of art and fashion." Thesis, University of East London, 2007. http://roar.uel.ac.uk/1236/.
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The latter half of the 20th century saw a massive transition from the analogue way of life to the digital. This thesis compares and contrasts two sets of binary patterns in this transition: the 'grid' and the 'loop', and 'representation' and 'abstraction'. My field of knowledge is Contemporary Conceptual Art practice, and the overlapping areas between three major disciplines: post-1970s visual art, fashion design and production, and digital media tools. The method is process-art analysis, in practice and theory. The thesis looks at several art and fashion case studies engaged with new media and shows that 'Informatics' also shares patterns with these emerging trends. The thesis argues that an important shift in the surface and structure of art and fashion and dynamic patterns in these fields can be relevant to others working in cognate disciplines concerned with patterns of thinking, imaging and coding: i. e., Philosophy, Media Theory, and Computer Science. New insights can be gained from a cross-disciplinary field of vision in this regard. The broad questions addressed in the research are: " Is there a vocabulary of pattern emerging between disciplines? " Why do 'grid, 'loop', 'representation' and 'abstraction' emerge repeatedly as patterns across such a wide set of disciplines: from fashion and art to brain science and pattern mapping in computer science? What can we learn from documenting the apparent shift between product and process in these distinct fields? The research concludes that the patterns in art, fashion, science, and technology all show that we are in a transition from a product-based culture to a process-oriented one. In that spirit, the conclusion projects a collaborative future for fashioning culture.
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Björling, Sofia. "Ethnic fashion : begrepp i förändring." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-748.
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Syftet med denna studie är att se på hur begreppet etniskt mode används i praktiken inom dagens modejournalistik och inom den mode- och dräkthistoriska litteraturen, med utgångspunkt i hur etniskt mode och dräkt presenteras i forskningen. Etniskt mode som idag är ett väl använt begrepp som visar sig ha många olika innebörder. För det har visat sig att man med begreppet etniskt mode menar olika saker inom forskningen respektive inom mode- och dräkthistoriska översiktsverk samt inom modejournalistiken.
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Edwards, Jennifer Somerville 1967. "Louise Dahl-Wolfe: A fashion photographer redefined." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291450.
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Dahl-Wolfe (1895-1989) is best-known as a fashion photographer, her photographic life encompassed a pattern of art and documentary ideas interwoven over a forty-year period. This thesis describes her early art influences and explores her photography career in regards to the historical and cultural developments from World War I through the 1950s. Dahl-Wolfe is compared with her contemporaries such as Consuelo Kanaga, Dorothea Lange, Edward Weston, Richard Avedon, and Henri Cartier-Bresson. The study reveals how Dahl-Wolfe's work reflects photography's evolution over a specific period and how traditional constructions affect the reception of commercial photographers. Conclusively, Dahl-Wolfe's oeuvre straddles such an array of constructed arenas that she virtually fell through the cracks and has been narrowly defined as a result of art historical definitions.
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Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.
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Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.
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Tolley, Rebecca. "Review of Fashion's Front Line: Fashion Show Photography from the Runway to Backstage." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5622.
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Kay, Lacey. "Fashionable Art." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3337.
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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.
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Smith, Natalie D., and n/a. "Fashion and the artworld : intersection, interplay and collusion since 1982." University of Otago. Department of History, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070417.122533.
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Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice.
The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface.
This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.
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Butler-Roberts, Jessica. "Fashioning distinction| construction of identity through dress and photography in nineteenth-century Paris." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252491.
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<p> In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one’s likeness. This thesis will trace the utilization of these concepts by examining Nadar’s portraits of Charles Baudelaire, Théophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione’s collaborative portrait work with the photographer Pierre-Louise Pierson. </p><p> Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.</p>
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Huang, Li Ti. "Fashion and a critique of cultural identity: the implication for art education." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407141397.
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Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.
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Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
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Roe, Rebecca Suzanne. "Fashioning a utopian ideal : dress and undress in the work of Pierre-Auguste Renoir /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426100.
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Blair, Sean. "Permanent novelty." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5125.
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Thesis (M.F.A.)--West Virginia University, 2007.<br>Title from document title page. Document formatted into pages; contains vi, 38 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 36-38).
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McLoughlin, Marie. "Fashion, the Art School and the role of Muriel Pemberton in the development of degree level fashion education in the UK." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/dcb4f707-0a35-427e-9bf1-2780249190cb.
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Bush, Jessica. "The strategic use of art, architecture and design in high-end fashion retail." Thesis, Bucks New University, 2008. http://bucks.collections.crest.ac.uk/9828/.
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The aim of this thesis is to investigate the role of art, architecture and design in the luxury sector of fashion retail, taking leading high-end fashion brands as case studies. This study addresses how art, architecture and design can be shaped for commercial purposes, to make brands appear exclusive and distinctive. In the first section, a review of existing literature on art, design, fashion and consumption establishes how this research subject fits within broader debates that centre in these different creative practices. This research investigates the purpose of displaying works of art in high-end fashion stores and shows how - together with architecture and design - it has transformed retail environments. This study sets out to demonstrate that the introduction of art, architecture and design has been a pretext for fashion retailers to ‘conceptualise’ their outlets, designing them as sites of experimentation to stimulate and rejuvenate the shopping experience. This study argues that these creative practices have been presented as symbols of a utopian luxury lifestyle, and have been employed as languages to communicate with brands’ target markets. Case studies trace instances of this in the context of globalisation; examples include the representation of French brands in Japan. This study also contends that through their involvement with art, architecture and design, retailers have been enabled to present, with credibility, their commodities as works of art, elevating the status of their brands and maintain the exclusive character of high-end fashion. This was part of a bigger cultural shift in the capitalist first world, which involved a commodification of culture. Finally, this thesis speculates on the place of art, architecture and design within the future of high-end fashion retail and concludes that, despite the fact that this phenomenon has escaped critical attention, their presence in retail environments plays a key role in shaping the image of contemporary commercial spaces and is characteristic of the growing significance of creativity in late capitalist societies.
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Tonucci, Giulia <1984>. "Body, Technology and Fashion. Nuovi modelli creativi per la scena contemporanea." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7395/.
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La tesi si pone l'obiettivo di investigare la scena performativa contemporanea concentrandosi sull’evoluzione, durante il Novecento, di due aspetti principali, o forme: il corpo e l’abito. In primo luogo, si tratta di porre la lente d'ingrandimento su ciò che ha comportato la modificazione del concetto di presenza del corpo sulla scena, attraverso il triplice filtro della tecnologia, della moda e del movimento. Diviene utile indagare, quindi, come il modo di pensare e agire sul corpo si sia modificato negli anni attraverso la realizzazione di costumi e di strumenti scenici in cui la componente tecnologica e multimediale ha acquisito sempre maggior importanza. Declinato dal campo della moda a quello delle arti sceniche, il design, infatti, si trova oggi a essere espressione di una ricerca che esplora le possibilità nascoste dell'interazione tra sistemi tecnologici multimediali e l'ambito artistico. Diviene importante, quindi, non sottovalutare la questione del costume nella composizione complessiva dell'opera ma sfruttare, invece, le infinite risorse che la moda può apportare all'estetica e alla percezione finale dello spettacolo stesso. Rispetto alla forma abito, si prenderà, quindi, in considerazione proprio la sua evoluzione attraverso il lavoro compiuto da stilisti all'avanguardia che collaborano, in maniera diretta o indiretta, con il mondo della live art. Un rapporto che è interessante esplorare nelle reciproche influenze tecniche ed estetiche. Basti pensare alle collaborazioni tra William Forsythe e Issey Miyake; o ancora al lavoro del designer inglese Garreth Pugh, i cui abiti sono il prodotto di ispirazioni molteplici, dalle esibizioni serpentine di Loïe Fuller, così come dai costumi geometrici schlemmeriani. Procedendo attraverso un lavoro di sovrapposizioni in trasparenza rispetto ai tre domini di teatro, moda e tecnologia, l'obiettivo sarà allora quello di verificare l'apporto, in termini di sviluppo estetico e compositivo, che le loro reciproche ibridazioni possono apportare alla scena performativa contemporanea.<br>The dissertation investigates the evolution and the relation, along the last century, of two main aspects of the contemporary performing arts, indicated here as forms, such the body and the garment, through the implication of the new technologies. First of all, pointing out how the modification of the concept of presence worked for a re-consideration of both the two forms, through the triple filter of technology, fashion and movement. Then, analysing how the development of technological and multimedia garments and stage devices change the way of thinking and acting to the body on stage itself. As well as in the field of fashion and in the context of the performing live arts, design is today the expression of a research that explores the possible interactions and contaminations between technology and arts. The garment issue, then, becomes relevant in the whole composition of the performing artwork, and as well to consider how fashion can be a rich and important source in terms of aesthetic and perception for the theatre world. About the analysis of the form – garment, as the second main object after the form-body in the structure of this thesis, is important considering how the dress item is evolving by means of the work of avant-garde fashion designers who collaborate, directly or not, with the live art domain. Therefore, the relation between fashion and performing arts will be explored through their mutual influences, in a technical and aesthetic point of view. Along the dissertation, there will be also presented several examples of the collaborations between designers and theatre directors/choreographers. Leading the research by overlapping the three domains of theatre, fashion and technology, finally the main object will be to verify the aesthetic and the structural contribution that their interaction have on the contemporary performing arts.
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Fowler, Michael Anthony. "Rosa Bonheur the Amazon? Victorian-era Fashion, Female Masculinity, and the Horse Fair (1855)." Digital Commons @ East Tennessee State University, 2022. https://dc.etsu.edu/etsu-works/8903.
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Finn, Angela. "Fashion manufacturing in New Zealand can design contribute to a sustainable fashion industry? : this exegesis is submitted to Auckland University of Technology for the Honours degree of Bachelor of Art and Design, October 2008 /." Full exegesis, 2008.
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Exegesis (BA--Art and Design) -- AUT University, 2008.<br>Includes bibliographical references. Also held in print (xix, 101 leaves : ill. ; 30 cm.) in City Campus Theses Collection (T 338.47746920993 FIN)
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Walsh, Kyley. "Fashion and Art Collaborations| The Benefits for Both Brands in a Designer x Artist Brand Alliance." Thesis, Sotheby's Institute of Art - New York, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10187679.
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<p>This research project analyzes the history between fashion and art and investigates several recent collaborations between designers and artists, with the intention to distinguish the benefits each brand receives through the affiliation with one another. In today?s cultural and commercial market, there are an abundance of new collaborations between designer brands and artists continuously developing. Artists are recognized through gallery and museum exhibitions, as well as through auctions, but what many fail to observe is that artists are being acknowledged through the fashion industry as well. Although there are several collaborations that have already been extensively researched and analyzed, there are countless others that need the same scholarly attention. Through the process of research and interviews, both artists and designers are studied and questioned in regards to their participation within the collaboration. The case studies included analyze the benefits and outcomes of the brand alliance between designers and artists.
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Souza, Nívea Faria de. "Entremeios da arte: moda e arte." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4820.
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Este trabalho versa sobre o universo da arte tangenciado pela moda, sua efemeridade, pertencimentos e seus agenciamentos. Nesse contexto, busca-se exemplificar o quanto a moda e a arte estão intrinsecamente ligadas. O ponto de partida é a moda como experiência e expressão coletiva e/ou individual, principalmente em trajes e formas vestimentares, pois são esses que mais forte influência exercem sobre o homem, seu corpo, seu espaço e memória. Localiza-se esse processo de aproximação entre arte e moda no século XX, quando vanguardas romperam com o academicismo clássico, agregando à arte sinestesias de sistemas relacionais. Rejeitam-se intermitências escultóricas e pictóricas para dar lugar a linguagens que interagem com o espectador. Os dados do presente trabalho traçam o panorama da aproximação entre arte e moda, a partir de duas vertentes: a primeira demonstra como a arte busca, no traje, suas sinergias, influenciando-se e apropriando-se da sinestesia proporcionada pela roupa; a segunda, como a moda apropriou-se de elementos da arte, em busca de um reposicionamento como expressão e não somente consumo<br>This work discusses the art universe touched by fashion, its ephemerality, belongings and its relations. In this context, the purpose is to exemplify how fashion and art are inextricably linked. The starting point is fashion as an experience and as an expression, which can be collective and/or individual. Fashion is mainly comprised by clothes and raiment, because these are the forms that have more influence on the human, his body, his space and his memory, on this way the process of art and fashion approximation occurred in the Twentieth Century, when the vanguards broke down to the classic academicism bringing to art a intersection of feelings and relational systems. The sculptural and pictorial intermittent manifestations gave place to languages that interactes with the spectator. The data presented in this work show how art and fashion approached themselves, focusing on two slopes: the first one is how art seek on clothes its synergies, influencing itself and assuming the effects of the intersection of feelings created by clothes, and the second one is how fashion arrogated arts elements in order to be viewed as a way of expression and not only as an ordinary expenditure
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McRobbie, Angela. "Art world, rag trade or image industry? : a cultural sociology of British fashion design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/7359.
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This thesis argues that the distinctiveness of contemporary British fashion design can be attributed to the history of education in fashion design in the art schools, while the recent prominence and visibility is the result of the expansion of the fashion media. Fashion design had to struggle to achieve disciplinary status in the art schools. Tarnished by its associations with the gendered and low status practice of the dressmaking tradition, and then in the post war years, with the growth of mass culture and popular culture, fashion educators have emphasised the conceptual basis of fashion design. Young fashion designers graduating from art school and entering the world of work develop an occupational identity closer to that of fine artists. This is a not unrealistic strategy given the limited nature of employment opportunities in the commercial fashion sector. But as small scale cultural entrepreneurs relying on a selfemployed and freelance existence, the designers are thwarted in their ability to maintain a steady income by their lack of knowledge of production, sewing and the dressmaking tradition. The current network of urban `micro-economies' of fashion design are also the outcome of the enterprise culture of the 1980s. Trained to think of themselves primarily as creative individuals the designers are ill-equipped to develop a strategy of collaboration and association through which their activities might become more sustainable. While the fashion media has also played a key role in promoting fashion design since the early 1980s, they are overwhelmingly concerned with circulation figures. They produce fashion images which act as luxurious environments for attracting advertising revenue. Consequently they carry little or no coverage on issues relating to employment or livelihoods in fashion. But their workforce is also creative, casualised and freelance. In each case, these young workers are the product of the shift in the UK to an emergent form of cultural capitalism comprising of low pay and the intensification of labour in exchange for the reward of personal creativity. This current sociological investigation aims to open the debate on the potential for the future socialisation of creative labour.
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Cone, Schuyler Eaton. "Investigation of fashion characteristics 1937-1943 incorporated in a specific type of female Marine Corps uniform, 1943 /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665556776.
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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.
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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
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Willumsen, Kajsa. "Dressing[room]." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14910.
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This project is an investigation of the relationship between spatial dressing and body dressing. It aims to find a new way of dressing the body by looking at how a room is dressed. It is explored by using the mindset of when dressing and furnish a room, looking at elements such as materials, details and fixtures of what defines the different rooms. To gain knowledge and understanding of the chosen elements they have been decontextualized and experimented with on a body, using the body as a spatial canvas. It has been explored through placement in order to challenging the limitations of starting points when dressing as well as other aspects such as the spatial aesthetic as dress, new expressions, function and shape. It suggests a playful- and different interpretation of how to dress the body. The importance of this investigation has been to keep the objects as they are, to mix the things we know and can refer to, in its original form and function, with an unexpected context in order to maximize its potential use and to question how we categorize things.
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Metcalfe, Jessica RheAnn. "Native Designers of High Fashion: Expressing Identity, Creativity, and Tradition in Contemporary Customary Clothing Design." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194057.
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American Indian traditional art forms have been reincarnated by contemporary Native designers and placed on human bodies in the form of haute couture. This project examines culture and identity through a historical and sociocultural analysis of contemporary Native American clothing design. This project focuses on the use of clothing design and adornment to promote cultural traditions and maintain a `Native' identity. I equate this communicative use of design with the traditional role of storytelling: it allows Native designers to express, interrogate and subvert notions of Indianness; to create and perpetuate cultural traditions; to enhance aesthetic aspects of dress design; and to build and maintain community.This project explores the world of Native high fashion, and provides a cultural contextualization and analysis pertaining to identity, creativity, and tradition. I hypothesize that these contemporary designers continue the long practice of incorporating the new with the old, and, in effect, creatively carry on their cultural traditions. Whether they update Native clothing styles of the 1800s, or Indianize contemporary fashion, these designers explore how modern cuts and materials can be blended with traditional cultural design concepts and symbols to create unique, expertly constructed, artistic, and highly valued garments. These artists have taken up new materials to display their traditional art forms in innovative ways to uphold and maintain their unique cultures, and to celebrate their heritage by educating a non-Indian buying public.Using an interdisciplinary approach, I attempt to gain an insider's understanding of Native fashion by interviewing principle actors in the industry, by observing and participating in cultural and trade events, and by researching its history in archived records, stories and garments. The goal of this research is to add to the sparse literature on Native clothing, art, creativity, and identity by providing the only comprehensive critical scholarship on contemporary Native American fashion design.
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Martins, Leilane Rigatto. "Moda, arte e interdisciplinaridade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-13052013-134330/.
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A presente pesquisa estuda arte e moda buscando relacionar as duas áreas de conhecimento por meio das teorias interdisciplinares. A parte principal da pesquisa se concentra no estudo de três atos interdisciplinares ocorridos entre os artistas contemporâneos Stephen Sprouse, Takashi Murakami e Vanessa Beecroft produzidos em parceria com Marc Jacobs, diretor criativo da Louis Vuitton. Esses casos de estudo foram selecionados levando em conta o encontro entre moda e arte que busca enfatizar a ação benéfica da arte no produto de moda e da moda no campo da arte. A partir desses casos são levantadas questões pertinentes aos campos da arte, do design e da moda, evidenciando a troca entre eles, em que permeiam a complexidade que demanda um processo integrativo. Há interesse em investigar a qual tipo de interdisciplinaridade cada ato interdisciplinar atende, bem como estudá-los sob um olhar filosófico, sociológico e também sob algumas teorias da arte. Entende-se que o estudo interdisciplinar da moda relacionado a outras áreas concorre para formalizar a pesquisa neste campo.<br>This research studied art and fashion trying to relate the two areas of knowledge through interdisciplinary theories. The main part of the research focuses on the interdisciplinary study of three acts occurring among contemporary artists Stephen Sprouse, Takashi Murakami and Vanessa Beecroft produced in collaboration with Marc Jacobs, creative director of Louis Vuitton. These cases were selected taking into account the encounter between fashion and art that emphasizes the beneficial action of the art in fashion product and fashion in art. From these cases are raised issues pertaining to the fields of art, design and fashion, showing the exchange between them, in which permeate the complexity that demands an integrative process. There is interest in investigating which type of interdisciplinarity meets every act and study them under a philosophical, sociological look and also under some theories of art. It is understood that the interdisciplinary study of fashion related to other areas contributes to formalize research in this field.
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Hval, Ali. "Nearly symmetrical and definitely ostentatious." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6769.
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Lee, Youjung. "A study on the application of contemporary visual art into flagship stores of luxury fashion brands." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/8568.
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Luxury fashion brands face a new challenge as to how to sustain brand growth while maintaining the exclusivity of brands due to the democratisation of the luxury phenomenon which is mainly driven by the emergence of ‘new luxury’ and changes of consumption style ‘trading up’. Luxury consumers are becoming disillusioned with the vulgarisation of luxury goods and prefer exclusive luxurious experiences. In order to keep pace with the changes in luxury consumer needs and promote an image with creative and luxurious connotations, luxury brands increasingly associate with contemporary visual art through diverse kinds of channels. Among the channels, great attention has been given to contemporary visual art exhibitions within a flagship store due to its benefits: geographical location, cutting investment cost and offering direct art experience to consumers. However, there is no theoretical research investigating the main points to be considered in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands. Moreover, there is a need for a systematic approach in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands as relying mainly on a designer’s intuition might pose a problem: delivering different messages from those intended. Through the research, four main propositions were identified which need to be considered when luxury fashion brands apply contemporary visual art exhibitions to their flagship stores: 1) brand communication with consumers, 2) the fit between brand identity and that of an artist, 3) consumers’ value/benefits in the way that enhance consumers’ aesthetic experience of art and 4) artists’ value/benefits. Models including a conceptual model and a design tool kit were developed and tested with experts in this field. The proposed models are decision supporting tools which provide a comprehensive overview regarding the main points to be considered as well as support finding a high fit artist to brand identity. They offer advantages as follows: 1) the conceptual framework improves understanding of the needs/values of the three main stake holders such as luxury fashion brands, consumers and artists for this practice and provides an insight into how to address them in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands 2) the tool kit assists in making a decision when selecting artists or artworks and offers benefits to all the stake holders: 1) luxury brand value by managing their touch points effectively that ultimately lead to enhancing brand communication, 2) consumer value by preventing confusion caused by disharmonious messages from all the touch points within flagship stores, and 3) artist value by finding a matched brand for synergy between brands and artists.
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Laraman, Debra. "Re-fabricate evolving design through user interaction : exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/810.
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This research project focussed on discarded clothing and textiles, as signifiers for the lowest exchange value in the fashion system, and sought methods to add value by up-cycling1 into one of a kind fashion garments. Opportunities to add value were investigated with three main ideas emerging which include up-cycling the visual appearance of the garment or textiles through restyling, user interaction, and creating a narrative for the garment. The practice focussed on developing methods to incorporate these concepts as a way of extending the life of low value textiles into items that could be re-introduced into the fashion cycle2. Walker (2008) suggests that by conveying the story of a product to the consumer, the perception of value increased, and opportunities to explore this concept were investigated during the project. Experimentation with a variety of materials and techniques resulted in developing a method to re-fabricate3 threadbare and stained garments into a new material. User participation4 was investigated as a way to ‘add value,’ as it was hoped that by enabling the user to interact with the design they would value the item more. Exploring this concept led to the development of a range of garments and garment kits that enabled the user to learn techniques and make garments using discarded textiles and clothing. The garments and kits were developed using methods and techniques that could be easily mastered and used materials that would be readily available to the user. The development of the garment kits reframed the user as a designer/maker, which is sometimes referred to as participatory design,5 and Followed Fletcher’s (2008) directive that for practical reasons, the methods need to be low tech and inexpensive. A group of research participants trialled the garment kits, made their own garment and provided feedback, which informed the final phase of the project and the development of revised kits and garments. The project suggests potential opportunities for the fashion designer may exist by focussing on the use of existing resources and heightened user connectivity in the design of garments.
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Knabikaitė, Indrė. "Vakarų Europos ir sovietinės mados sankirta 1960 - 1970 metais Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_145404-61151.
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Magistro kvalifikaciniame darbe analizuojama 1960 - 1970 metų mada Lietuvoje. Darbo tikslas išanalizavus septintojo dešimtmečio Vakarų Europos ir sovietinės mados tendencijas, naudojant lyginamosios analizės metodą, palyginti su Lietuvoje vyravusiomis ir nustatyti jų transformacijos priežastis. Atlikta mokslinės literatūros analizė ir empirinis tyrimas iš esmės patvirtino darbe iškeltą hipotezę - madų tendencijos Lietuvoje atsiliko (laiko atžvilgiu) nuo Vakarų Europos, jaučiamas šių madų tendencijų skirtumas, atkeliavusios iš Vakarų Europos madų tendencijos Lietuvoje transformavosi.<br>There is analysing 1960 - 1970 years Lithuanian fashion trends in this master qualification work. Aim of work is analysing seventh decade West Europe's and Soviet fashion ruling trends, using comparative analysis method, compared to Lithuanian and to set the causes of this transformation. An analysis of scientific literature and an empirical study in principle approved the hypothesis in this work that the fashion trends in Lithuania felt behind (by time) comparing to West Europe's, appreciable the difference between West Europe's and Soviet fashion trends and the trends which came from West to Lithuania transformed.
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Ivanova, Ninela. "The T-probe : a fashion-led approach to advance understanding of novel and challenging material concepts and sensory experiences." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/37797/.
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The aim of this project was to pilot, assess and develop the globally worn everyday garment – the ‘humble’ T-shirt – as a wearable probe, defined in this research as the T-probe, to advance engagement with, and understanding of, challenging concepts relating to novel materials and sensory experiences. In the course of addressing this primary aim the research expanded into a three-part enquiry reflecting the complexity of factors involved in introducing novel material concepts via a design probe, and attaining sensory experience and perception data via the two-pronged approach of observation and self-reported measures. The value of the T-probe was thus explored via three separate but methodologically interlinked projects, selected based on common challenges associated with public perception and engagement: Project (I) Fungi materials for clothing: Explores perception of mould as a novel material for garment design and fabrication. Project (II) Fashion for deafblind people: Studies how a fashion experience may be introduced to a sensitive user group, i.e. people with visual and auditory impairment. Project (III) Synthetic ingredients for fine fragrance: Engages consumer understanding of synthetic ingredients in perfumery ii Research Project (I) was a pilot study based on the researcher’s personal design interest in the development and market introduction of novel biobased materials. Projects (II) and (III) were set up in partnerships with non-academic organisations: the charity for deafblind people Sense and the global company International Flavors and Fragrances (IFF) respectively, to further test the value of the T-probe in advancing understanding of materials and sensory experiences within contexts of social and / or market interest (s). The findings of the research enquiry demonstrate that the T-shirt is well accepted and engaged with, and functions well as a probe in eliciting and enhancing participant sensory experience and perception of novel and challenging material concepts. By following a systematic approach to the design and implementation of the T-probe from concept to actualisation, this doctoral research project contributes to an advanced understanding of issues related to the design and application of probes to fulfil specific research and design objectives within the various evolutionary stages of materials, products, technologies, and consumer experiences.
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Walker, Sue. "Resurgence this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/372.
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Exegesis (MA--Art and Design) -- AUT University, 2008.<br>Includes bibliographical references. Also held in print (111 leaves : col. ill. ; 22 x 30 cm.) in the Archive at the City Campus (T 746.92 WAL)
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Hibner, Jacqueline Rose. "Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/5489.
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This thesis is an examination of contemporary artist Mariko Mori's use of fashion in her work from 1993 to 2001. Contained within her sartorial phrasing is an involved relationship with the body, female and Japanese, as it exists within technological modernity. Tumult characterizes Mori's body as she images it early on in her career. This highly alienating space in which she positions herself gradually transitions to a space of respite for the performative body of another actor by 2001's Wave UFO. Wave UFO creates a mediated space for healing the modern body plagued with isolation through transcendence provided by technological means. Minimalist fashion, as a kind of plastic mechanization of corporeal experience, helps to accomplish this healing. Mori's Wave UFO attendant costumes present minimalist fashion as a location for reconciling spiritual identity in a postmodern age. The flat-panel costumes have the effect of disfiguring the bodies of the attendants into amorphous plasticized shells (much like the backdrop of the Wave UFO) and mechanizing the movements of the wearer. The sleek technological sensibility of the costumes, in conjunction with the stark sterility of the immersive Wave UFO interior, are the culminating expression of the ambivalent liminality Mori's body takes from 1993-1999. This is a body that floats between absence and presence, self and other. This thesis begins with a survey of Mori's 1990s work, including her 1994 self-portrait series that launched the artist into international recognition. The 1993-94 self-portraits present a playful mimicry and a self-aware exploration of regional dress as it is found on the streets of Tokyo. By the end of the decade the play shifts to minimalist self-denial that achieves a transcendence of the imaged body once grounded in the urban self-portraits. After exploring necessary and appropriate contexts of Japanese fashion and other cultural contexts, the thesis culminates in an extended analysis of Mori's 2001 Wave UFO installation. Mori's suggestion that technology can achieve transcendence of the body furthers the theorization that minimalist fashion overcomes the physical and ideological boundaries of human existence in a modern world.
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Dreher, Anne M. ""Proud as a peacock" an historic and semiotic analysis of illustrated "Vogue" magazine covers from 1909 and 1911 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798480841&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Bågander, Linnea. "MOViEMENT." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17066.
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This work explores the relationship between body and garment in movement. The method for investigation this meeting is through geometrical shapes that are applied on three points on the body. When researching materials, mesh was the most interesting one in its way of responding to the movements and it was easily combined with other material, when combines the effect from the movement increased. The dialog of movement is depending on the space between garment an wearer. It is in the space that the restrictions and the possibilities are created. The shapes are lacking details of traditional garments and are far from the commercial fashion scene to take this work further more garment-like influences could be added, it might also make the work easier to grasp for the audience.<br>Program: Modedesignutbildningen
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GOMES, Lavínnia Seabra. "A matriz de gravura como elemento de moda." Universidade Federal de Goiás, 2007. http://repositorio.bc.ufg.br/tede/handle/tde/2782.
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Previous issue date: 2007-04-11<br>This dissertation developed on the line of studies in Contemporaneous Processes
of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts
University, from UFG (Federal University of Goiás) resulted in plastic productions,
were fashion and tecnics of figure, blend toghether forms, materials and images.
The objective of this work, was concetrated on the matrixies creation, that didin t
fall into the ordinary tradictional element, and could be applied to the clothing
element, without loosing its main features or the question of the multi. The couttion
linking some objects the concepts of protection, decency or tradictionally ornament
related to fashion. The important factor in this research is highlight the possibillity
of conceiving the figure impression in another type of support, in our case, 3
dimensional (clothes), and conceive those images trough electronic devices,
without leavingout the multiplicity principles and impression. All the time we have
been searching for another form of visual conception of figure between the mode
and all of yours industrials tendences. So many ideas and questionings have come
up as webecame more and more familiar with the process, and what is pointed to
another series of creative utilization. Following that line of poetic study, owing
particularity, what singled each student of art, thoes productions make o out
experiences of world in something to be admirable or not, favoring each receptor of
plastic produtions, or diferents interpretations what give to then the better
understanding.<br>Esta dissertação desenvolvida na linha de pesquisa em Processos
Contemporâneos de Produção de Imagens Visuais do Mestrado em Cultura Visual
da Faculdade de Artes Visuais da UFG resultou em produções plásticas em que a
moda e as técnicas da gravura se mesclam em formas, materiais e imagens.
O objetivo deste trabalho esteve centrado na criação de matrizes que
fugissem do tradicional da impressão em relevo e que pudessem ser aplicadas ao
elemento roupa, sem perder a característica principal, ou seja, a questão do
múltiplo. Em nenhum momento tem-se a preocupação em vincular a tais objetos
os conceitos de proteção, pudor ou enfeite tradicionalmente relacionados à moda.
O fator importante nesta pesquisa é destacar a possibilidade de conceber a
impressão da gravura em outro tipo de suporte, no nosso caso, o tridimensional
(roupa) e conceber as imagens através de equipamentos eletrônicos sem se
esquecer dos princípios de multiplicidade e impressão.
A todo instante buscou-se outra forma de concepção visual da gravura
através da moda e de todos os seus aparatos industriais. Muitas idéias e
questionamentos surgiram, à medida que se conhecia mais a fundo o processo de
impressão da gravura e que instigavam a uma outra série de utilizações criativas.
Partindo do pensamento de que a pesquisa poética possui uma
particularidade que singulariza cada pesquisador artista, estas produções
exteriorizam experiências de mundo em algo para ser admirado ou não,
favorecendo a cada receptor das produções plásticas a interpretação quê melhor
lhe convier.
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Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.
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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.
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Rice, Erin [Verfasser]. "The Pattern of Modernity: Textiles in Art, Fashion, and Cultural Memory in Nigeria since 1960 / Erin Rice." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1213724899/34.
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Grasser, Hildegard Irene. "From art to artefact: meaning-making processes across the three major subjects in a Diploma in Fashion." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12012.
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Includes abstract.<br>Includes bibliographical references.<br>Investigations in the field of Fashion design education have not taken into account that students need to negotiate three very different subjects. In particular the technical side, namely pattern making and garment construction have not received enough attention. Over the years I have found the same difficulties among students as they negotiate the three main subjects. Their encounter with the technical subjects, presents particular difficulties. In order to explore these difficulties, this study investigates the meaning-making processes of beginner students as they move from drawing and designing to production of a garment. By identifying and analysing the practices of a beginner, I examine how students become multimodally literate across the three subjects.
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Williams, Cynthia Renee. "A Study of the Perceived Value of the National Association of Schools of Art and Design (Nasad) Accreditation by Fashion Students In Fashion Programs at Public and Private Colleges." Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10788330.
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<p> When one thinks of the fashion industry, one might think of famous designers and celebrity fashion shows. Today, fashion is a $1.2 trillion global industry, employing 1.9 million people in the United States, creating a positive impact on regional economies across the country (JEC, 2015; US Department of Labor, Bureau of Labor Statistics, 2017). Presently, 90% of apparel design and production has gone overseas or elsewhere in the world (Robinson, 2013). Manufacturing today requires “universal participation” (Bill, 2011); meaning garments designed in one country, made in fabric from a second country, assembled in a third country, then shipped back to the country of the original design, to be sold at retail in a matter of weeks. </p><p> In the past, all one needed to know was some sewing skills, fabric knowledge and garment construction to begin a career in fashion. Today, a career in fashion requires a different set of skills, making fashion education more prevalent and crucial than ever before. The interest in a fashion career has grown over the last decades, requiring many schools once offering degrees in home economics to revisit their fashion courses, revamp their curriculum and rehire faculty with academic degrees, who are currently out in the fashion field. But do students know what actual skills are needed to transition from the classroom out into the field, or recognize good indicators of what a fashion program should offer? This study is designed to research, measure and analyze this phenomenon. </p><p> This study is organized into five chapters. Chapter 1 introduces the topics of fashion education, the fashion industry, and specialized accreditation for fashion programs in the USA, including the research questions that form the foundation for this study. Chapter 2 researches the literature review of previous studies, NASAD, the only accreditation in the USA for all art anddesign programs and profiles of four colleges that offer fashion programs. Chapter 3 discusses methodology and the survey instrument used to collect data. Chapter 4 discusses the results of the survey and Chapter 5 presents conclusions and recommendations drawn from data findings.</p><p>
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Chenault, Lindsay Vaughn. "Tailored: Living through Wearable Design." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/25.
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Tailored is a graphic design experiment which explores clothing as communication. It tells the story of my life through my body and the “designed” skirts I wear. Clothing is a visual representation of who we are and what we do. Through Tailored I am pushing the boundaries of how people read what I wear. I have designed and made skirts that explicitly define (through words, fabric and image) the six main compartments of my life. This paper records and explores the visual experiences I create for those around me and myself. Tailored is a personal investigation of how clothing speaks about me through personally designed garments.
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Inocentes, Francesca Louise. "[REBELUTION 17]: Gender Bender." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/950.
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Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.
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Carman, Hillary Anne. "Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3428.
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In this thesis I consider photographs of the mannequin by Vogue's fashion photographer, George Hoyningen-Huene. Little scholarship has been written on Huene, as well as many other fashion photographers of the twentieth century. I examine four of Huene's works and his appropriation of the surrealist aesthetic, specifically the use of the mask and mannequin, which were directed at female spectators during the interwar atmosphere and development of the identity of the interwar modern woman. These images include Life-mask of Dolores Wilkinson (1933), Antoine with One of His Creations (1933), Scarf and Gloves by Chanel, Mannequin by Pierre Imans (1934) and Mauboussin Diamond-and-Topaz Corsage Clip, Mannequin by Pierre Imans (1934). I argue that his use of the mask and mannequin legitimates his work as he draws from the artistic milieu of nineteenth and twentieth-century high art.My survey describes photography's theoretical affinities with fashion and surrealism, the surrealist aesthetic and Huene's adoption of it in his fashion photographs of the mannequin, primitivism and Huene's adoption of high art themes and use of the mask, the interwar modern woman in a consumer society, female spectatorship and Huene's surrealist images functioning through a female gaze.
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Allen, Nia J. "THE CURATED ESTATE:A PRACTICE-BASED POP-UP STORE SOLUTION FOR LUXURY FASHION RETAIL INDUSTRY’S ISSUES WITH RACIAL DISCRIMINATION." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620816314892002.
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Sant'Anna, Patricia. "Coleção Rhodia = arte e design de moda nos anos sessenta no Brasil." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280227.
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Orientador: Claudia Valladão de Mattos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-15T22:57:11Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: A presente pesquisa tem como objetivo investigar a Coleção Rhodia do Museu de Arte de São Paulo 'Assis Chateaubriand' (MASP). Esta é composta de 79 vestuários que foram produzidos durante a década de sessenta como fruto de uma estratégia de marketing que uniu as manifestações artísticas produzidas àquele tempo com o nascente processo produtivo de moda industrial no Brasil. O estudo centrou-se em três questões principais: (1) compreender o caráter performático das apresentações para as quais estes vestuáriosmoda foram criados; (2) como e quais eram as poéticas tratadas pelos artistas plásticos envolvidos em produção de estampas; e (3) de que maneira e por que estas peças passaram por um processo de musealização em um museu de arte. O estudo almeja avaliar e explicitar as contribuições dessa coleção para a História da Arte e do Design no Brasil, elaborando uma pesquisa que trata de analisar os aspectos plásticos desse vestuário e correlacioná-lo às experiências estéticas de seu período, bem como desenvolver uma breve análise sobre a entrada desses objetos no MASP e as consequências simbólicas para a compreensão de um objeto-vestuário como patrimônio<br>Abstract: This research aims to investigate the Rhodia Collection Art Museum of Sao Paulo 'Assis Chateaubriand' (MASP). This consists of 79 garments that were produced during the sixties as the result of a marketing strategy that united the art forms produced at that time with the rising production process of fashion industry in Brazil. The study focused on three main issues: (1) understand the performative character of those for whom these garments were created, fashion, (2) how and what were the poetic addressed by artists involved in the production of prints, and ( 3) how and why these parts have undergone a process of cultural units in an art museum. The study aims to assess and explain the contributions of this collection in the history of art and design in Brazil, producing research that is examining aspects of plastic clothing and correlate it the aesthetic experiences of your period and develop a brief analysis on the entry of such objects in the MASP and symbolic consequences for the understanding of an object and clothing and heritage<br>Doutorado<br>Historia da Arte<br>Doutor em História
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Gray, Sally Suzette Clelland School of Art History & Theory UNSW. "There's always more: the art of David McDiarmid." Awarded by:University of New South Wales. School of Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/32495.
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This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.
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Dou, Meng, and Esra Ekiz. "Differentiation through Aesthetics in Supermarkets." Thesis, Linköpings universitet, Företagsekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71158.
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Background:This thesis strives to analyze aesthetic services used in supermarkets. Supermarkets facefierce competition and varied marketing dilemmas such as traditional marketing versusservice marketing. Nevertheless, encompassing elements from both traditionalmarketing, such as physical products, and service marketing, such as relationshipbuilding, supermarket management is challenging. Thus, it is crucial to understandconsumers’ perceptions for both services and products in order to satisfy their needs andwants and succeed in the market place. Therefore, this thesis offers a betterunderstanding of aesthetic elements used in supermarkets from customers’ perspective.Aim:The main purpose of this thesis is to investigate the applications of aesthetics insupermarkets. It intends to examine and theorize the consumer perceptions regardingaesthetic elements applied in supermarkets; to test the differentiation strategy insupermarkets, through the usage of aesthetic elements, from consumers’ perspective.Definitions:Aestheticization of daily life: it can be seen as the extension of art or the appreciation ofart on daily life. It suggests ‘the collapse of the distinction between high art and massculture, leveling out of symbolic hierarchies and cultural declassification’ (Featherstone,2007). It reflects onto business through its emphasis on beauty, sensory appeals,pleasure consumption etc. Analyzing aesthetic applications in supermarkets from acustomer perspective, this thesis finds out that from both companies’ and consumers’perspective, these applications are based on aestheticization of daily life.Completion and Results:Aesthetic elements used in supermarkets are identified in the content analysis anddiscussed in the empirical study through focus group interviews. It is found out thataesthetic services indeed improve customer satisfaction. However, the fierce pricecompetition limits supermarkets’ services to instrumental rather than expressiveperformance. Moreover, utilized aesthetic services in supermarkets tend to bestandardized, due to benchmarking processes, in consumers’ eyes, causing theseservices to lose their value to be differentiated.
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Pironti, Elinor Dei Tos. "The interconnection of culture and manufacture in Japanese No theater costume| Conservation of an Edo Period choken." Thesis, Fashion Institute of Technology, SUNY, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140949.
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<p>The subject of this qualifying paper is an Edo Period Nō theater <i> chōken</i>. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment. </p><p> <i>First</i>, there was extensive warp breakage along the full length of the shoulders and sleeve bottoms and one area of full loss to the base fabric, exposing wefts. <i>Second</i>, a couched metallic thread was used as an outline to five vase motifs and as patterning for four butterflies. All used ‘urushi,’ better known as Japanese lacquer, for an adhesive binding a metal foil its paper substrate. This couched thread had either loss to the metallic surface, to the combined metallic and lacquer surface, or was hanging, and at times twisted back upon itself. <i>Third</i>, there was a cut and finely woven, metallic coated paper used for some of the leaf and insect wing motifs that was tattered, unaligned, had loss to its metallic surface, and was not secure to the base fabric. <i>Fourth</i>, there were areas of weft breakage exposing warps. <i>Fifth</i>, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. <i>Sixth</i>, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss. </p><p> Untreated areas were: areas of warp distortion in the front body panel; a few loose embroidery threads throughout the five floral/vase motifs; and a small amount of loss due to insect infestation. </p><p> Research was done and methods developed in order to find treatment techniques for the lacquer based metallic thread, the cut and woven paper motifs, and the extensive warp breakage extending along the shoulders and sleeve bottoms. </p><p> Due to the difficulty of finding English equivalents to Japanese textile terminology, I included a Comparative Glossary that I hope will be useful to other researchers in this field. </p><p> This project proved to be challenging, but in the end, very rewarding with a new body of knowledge concerning materials used in this type of cultural object. </p>
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Wiklund, Josefin. "EMPHASIZING THE UNWANTED : Exploring the use of unwanted defects as desirable qualities of a collection." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23798.
Full textAbstract:
This work focuses on exploring the early stage of garment production: where prototypes are regarded as ”incomplete” in relation to the desired result. Early prototypes carry unforeseen elements that are regarded as defects rather than desirable qualities, and are subsequently edited, adjusted and iterated into new prototypes until the desired result has been reached. This work wishes to emphasize the unforeseen elements present in the early prototypes, instead of merely disregarding them as undesirable qualities. By emphasizing common elements that are usually regarded as defects, this result of this project became a commercial yet experimental collection. I.e., the garments arguably kept their core commercial characteristics, making it easy for the observer to recognize and categorize the garments. However, upon a closer inspection, the defects arguably infused each respective garment with an appealing and interesting aesthetic. What this project has shown is that defects can be emphasized into desirable qualities, and that defects pose vast foundations for further exploration, ultimately challenging the industry’s current perception of defects.
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Rowe, Keri. "Elevating the Other: A Theoretical Approach to Alexander McQueen." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4394.
Full textAbstract:
This thesis examines the relationship between art and fashion in order to first, justify fashion as an art form, and second, demonstrate the applicability of critical theory to the study of fashion through an examination of Alexander McQueen's Spring/Summer 2006 menswear collection, titled “Killa,” presented in Milan, Italy, in 2005. “Killa,” loosely based on William Golding's 1954 novel Lord of the Flies and its 1963 film adaptation, opens with crisp, white, tailored suits worn by neatly groomed models. Steadily throughout the collection, these tailored suits are exchanged for wide-legged, cropped shorts, and tanks in browns and beiges. By the end, models appear on the runway with painted faces, wild hair, and highly patterned, dark-colored body suits and billowing capes. While “Killa” appears to demonstrate the narrative regression from civilized to savage demonstrated in Golding's novel, this thesis argues that McQueen's collection actually strives to promote a more positive ennobling of the Other. A careful study of his life and career suggests that McQueen perceived himself as the Other within the community in which he worked and lived. Frustrated by frequent misinterpretations of his work and false accusations of his character, “Killa” becomes McQueen's ultimate confrontation with Otherness. Positioning the Other at the climax of an elite fashion show, represented by Mesoamerican designs depicted through the highest quality tailoring, McQueen's Other is respected and revered, rather than looked down upon. In this way, McQueen challenges the perception of his own character within the fashion community. Ultimately this thesis seeks to demonstrate the necessity of the application of critical theory to objects of fashion. As demonstrated through the case study of McQueen's 2006 menswear collection, this academic consideration has the potential to reveal important overlooked meanings within the art of fashion. This suggests that McQueen's work, as well as the work of other contemporary fashion designers, merits more thoughtful and careful interpretation in the study of postmodern art history.