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Dissertations / Theses on the topic 'Dress'
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Hawk, Zoe Alaina. "Dress code." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/980.
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Lasen, Ulrik Martin. "Dressing wearing : Movement directed by dress - dress directed by movement." Doctoral thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11052.
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Contemporary dance and modern ballet often focus on conveying emotions through patterns of movement which may be abstract, obvious, or anywhere in between, supported by music, sound, or spoken words that set the mood. Scenography is typically sparse or confined to the available space, leaving the dancers as the main instrument of communication. This work explores dressing and wearing, with a focus on how garments can inform and direct movement, choreography, and performance, and in turn how movement may inform and contribute to the development of dynamic garments. Through a series of live experiments, ranging from self-instigated performance/video work in collaboration with choreographers and dancers to performances of garment interaction associated with everyday life dressing, the performative, spatial, and interactive properties of garments are explored. The results present alternative models of collaborative interaction related to various aspects of kinaesthetics, choreography, scenography, and performance space, and offer wide-ranging creative potential. The work shows how designers and choreographers can collaborate on performance scenarios within the context of modern ballet and contemporary dance productions, thus creating conceptual garments that influence the design, choreography, and movement pattern based on a re-conception of what it means to dress and to wear. In relation to the act of dressing and undressing, alternative types of garment and ways of wearing and performing were found where garments act as co-choreographers in the development of performances. Moreover, by having wearing and dressing as a form of choreography these acts, act as the co-creator of garments both in our everday lives and on stage. As a consequence, the results also demonstrates how the agency of garments can function as a manuscript in modern dance, and how performance itself redefines the notion of wearing and the concept of garments.
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Gamarra, Palacios Guillermo Leonardo, Tello Charles André Grados, and Falcón Marco Seclén. "DRESS 4 LESS." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/624935.
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La iniciativa empresarial que presentamos se llama Dress 4 Less (D4L), la cual nace del trabajo en equipo de tres estudiantes de la carrera de administración de empresas de la UPC.
Dress 4 Less es una empresa de servicios enfocada en el alquiler de vestimentas para cubrir las necesidades de autorrealización y reconocimiento que encontramos en las mujeres modernas, que valoran la moda, el uso exigente del tiempo y que, además, se apoyan en las nuevas tecnologías para satisfacer sus necesidades.
La propuesta de Dress 4 Less es, mediante una plataforma digital, ofrecer vestidos para ocasiones especiales, sean de gala o coctel, y además ajustar estas prendas a las medidas de cada cliente, dándole el apoyo de asesoría de acuerdo a la ocasión, a la tendencia en la moda, al corte, el clima, entre otros factores.
Durante el desarrollo del proyecto nos hemos asegurado de que la probabilidad de éxito del negocio sea alta, puesto que, el público objetivo es amplio y la competencia no es numerosa y no puede atender a todo el mercado.
Por último, la propuesta de dar un servicio personalizado, donde el vestido no solo sea el adecuado para la ocasión, sino también brindando la asesoría de una experta y el servicio de costura para que el vestido elegido quede entallado a las medidas de la cliente serán los puntos estratégicos que diferenciarán nuestra propuesta.
The business initiative that we present is called Dress 4 Less (D4L), which is born from the team work of three students of the career in business administration at the UPC.
Dress 4 Less is a service company focused on the rental of clothing to meet the needs of self-realization and recognition that we find in modern women, who value fashion, the demanding use of time and who also rely on new technologies to meet your needs.
The proposal of Dress 4 Less is, through a digital platform, offer dresses for special occasions, whether gala or cocktail, and also adjust these garments to the measures of each client, giving the support of advice according to the occasion, to the Trend in fashion, cut, climate, among other factors.
During the development of the project we have ensured that the probability of business success is high, since the target audience is broad and the competition is not large and can not serve the entire market.
Finally, the proposal to provide a personalized service, where the dress is not only suitable for the occasion, but also providing the advice of an expert and the sewing service so that the chosen dress is fitted to the client's measurements will be the strategic points that will differentiate our proposal.Trabajo de investigación
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Magnusson, André, and Anton Persson. "Dress your identities." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21333.
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Denna studie behandlar kläder och mode som kommunikation och dess roll i individersidentitetsskapande. Frågor om såväl strukturer på makronivå som beslut på mikronivå löpersom en röd tråd genom studiens olika delar. För oss författare var det självklart att föratt förstå den ena nivån måste en också förstå den andra. Studiens syfte var att genom intervjueroch visuell etnografi undersöka lönearbetande 25-30 åringars identitetsskapande,specifikt hur de kommunicerar sin identitet genom konsumtion av kläder och mode. Föratt utforska vårt syfte har vi genomfört och analyserat åtta kvalitativa intervjuer. I researchochanalysarbete filtreras resultaten genom teorier om postmodernitet, sociala fält och konsumism.Därtill redogör vi för tidigare forskning inom ämnet. Studien visar att individer,modeintresserade eller ej, är högst medvetna om vad deras kläder kommunicerar i olikakontexter. Samhället tycks genomsyras av de klädkoder som, till största del, konstitueras påmakronivå.This study treats clothes and fashion as communication and its role in individual's identity.Questions about structures on a macro level as well as decisions on a micro level is thetheme for all the parts of the study. To understand one level, you have to understand theother. The purpose for this study was, through interviews and visual ethnography studywage earning Swedes between 25 to 30 years old in their creation of identity, specificallyhow they communicate their identity through consumption of clothes and fashion. To exploreour purpose, we have conducted and analysed eight qualitative interviews. In the researchand analysing work the results have been understood through theories concerningpostmodernism, field, habitus and consumerism. We also describe and connect the resultswith previous research. The study shows that individuals, interested in fashion or not, arehighly conscious about what their clothes communicate in different contexts. Society seemsto be permeated with codes of clothing constituted on a macro level.
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Ball, Jennifer L. "Byzantine dress : representations of secular dress in Eighth- to Twelfth-Century painting /." Basingstoke : Palgrave Macmillan, 2006. http://swbplus.bsz-bw.de/bsz285736655inh.htm.
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Packer, Connie Lynn. "Registered Dietitian Dress and The Effect of Dietitian Dress on Perceived Professionalism." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1262.
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People use others' dress to make assumptions, including how they believe the wearer will behave. Observers then adjust their behavior in response to the anticipated behavior of the wearer. Physician or nurse dress affects the degree to which patients perceive the medical professional as confident, experienced, competent, mature, trustworthy, and professional. Dietitian dress has not been studied. Our purpose was to identify 1) the current level of formality of dress of registered dietitians (RD), 2) characteristics of dress codes, 3) the effect of RD dress on patient/client perceptions of professional traits, and 4) the level of formality at which an RD is perceived as being most professional. Phase I Respondents were randomly selected from the American Hospital Association database and the national WIC directory. A total of 972 managers (449 WIC and 523 hospital nutrition services) completed a survey about their facility's dress code policy for RDs, and how the facility's dietitians dress for work. Data showed that at most WIC clinics dietitians dress in Semi-Casual (khaki pants/collared knit top) attire while most hospitals dietitians dress in Business Casual II (dress slacks/knit shirt) attire. Over half of all managers surveyed felt that dietitian dress was important and a priority. Phase II Respondents were patients/clients of a hospital or WIC clinic in Illinois, Virginia, or Utah. Respondents gave demographic information and rated pictures of a dietitian in nine sets of clothing on eight characteristics: empathetic, competent, approachable, credible, organized, effective, professional, and confident. Respondents identified the dietitian with whom they would most and least prefer to have nutritional counseling. A total of 582 surveys were collected. These data showed that WIC participants and hospital patients most preferred the dietitian to dress in Business Casual (dress slacks/collared dress shirt) with a lab coat; this attire also received the most positive/desirable Professional Characteristic Scores. All respondents least preferred the dietitian dressed in Casual (jeans/knit shirt) attire; this attire received the least positive/desirable Professional Characteristic Scores. Only 1.1% of WIC and 8.1% of hospital dietitians regularly wear dress slacks, a collared shirt, and a lab coat, the patients'/clients' most preferred dress for dietitians.
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Leung, Ka-kie, and 梁嘉琪. "Dress and gender power." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953621.
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Leung, Ka-kie. "Dress and gender power." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262063.
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Fransson, Dekhla Linda. "Weaving Dress : Exploring whole-garment weaving as a method to create expressive dress." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14884.
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This thesis investigates whole-garment weaving as an experimental design and construction method. The majority of the current development and research within the field focuses on production efficiency and the development of weaving techniques. Here, the intention is to connect form, material and making. The aim is to find ways to deconstruct the process of garment making in order to create new knowledge through craft. Within whole-garment weaving, many design processes are dealt with simultaneously, through direct experimentation on the loom. In order to maintain the integrity of the weaving, interferences such as cutting and sewing is limited. The basics of the practical method is that the cloth is woven as a double weave on the loom. For the practical work, the first objective was to find basic parameters for the project, freely experimenting with weave constructions and bindings. As the process developed, more aspects of garment construction were included in the design process. The combination of bindings, floats and elastic is used to create expressive textile as well as dress, so that the textile surfaces influences the silhouette or the drape. The result shows the expressive potential of whole-garment weaving through a series of nine examples, each showcasing different aspects of the method. The focus is on showcasing experimental approaches to simultaneous fashion/textile design interaction.
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Scott, Margaret Cochrane. "Dress in Scotland 1406-1460." Thesis, Courtauld Institute of Art (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295035.
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Водолазська, Є. О. "Era of Gothic dress culture." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10628.
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Olson, Sarah K. "Dress: A Novel in Progress." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555325170400326.
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ALVES, RITA DE CÁSSIA GONÇALO. "WHICH IS THE DRESS CODE? MORAL AND AESTHETIC JUDGEMENT IN THE EVANGELICAL WOMEN S DRESS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27270@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação traz uma pesquisa acerca da moral evangélica que contempla o vestuário feminino como um importante elemento de distinção social. A partir da etnografia realizada em igrejas evangélicas na região metropolitana do Rio de Janeiro, procurei observar de que forma as subjetividades se manifestam nos discursos e como experiências religiosas e culturais operam nos distintos modos de vestir-se, performar-se e julgar o belo. Disso resulta que, entre o juízo de gosto e as práticas do vestir, há operações de agenciamento em que as mulheres investem na construção de uma identidade visual personalizada sem contrapor a moral evangélica, mas também evidenciando as múltiplas formas sobre como essas normas são incorporadas. Neste sentido, o diálogo entre os mecanismos de distinção e as relações entre performatividade e materialidade constroem uma ética corporal e comunal, contribuindo para o entendimento da regulação e inscrição desses corpos femininos, portadores de significados sociais.
The present work brings a research about the gospel morality, which includes women s clothing as an important element of social distinction. From the ethnography in evangelical churches in the metropolitan region of Rio de Janeiro, I tried watching how the subjectivities are manifested in speeches and how religious and cultural experiences operating in distinct ways of dress up perform and judge the beautiful. It follows that between the judgement of taste and practices of dressing there are agency operations where women invest in constructing a personalized visual identity without opposing the evangelical morality, but also showing the multiple ways on how these norms are incorporated. In this sense, the dialogue between distinction mechanisms and the relations between performativity and materiality build a corporal and communal ethics, contributing to the understanding of the regulation and registration of these female bodies carrying social meanings.
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Makryniotis, Thomas. "Identity through dress in virtual environments." Thesis, University of Kent, 2013. http://ualresearchonline.arts.ac.uk/7086/.
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The purpose of this thesis is to examine the formation of identity through dress in virtual environments, and to establish connections between identity, fashion, and virtual reality by means of language and semiology. The notion of identity through fashion in virtual environments is examined, with fashion as a factor in identity formation through dress as analysed in structuralist terms. The virtual aspect is used both as a literal field, i.e. the medium of video games and social networks that involve virtual avatars, and as theoretical testing ground from which to derive new results on the nature of dress and many of the aspects of clothing and fashion. The practical outcome of this research, a video game based on dress and narrative, serves as an applied experiment of the three main themes in this thesis and the relations and interactions between them, as well as a testing tool with which to challenge in a practical way the theories and speculations formed in the thesis. My methodology is based on structuralism and post-structuralism in the fields of linguistics, psychology and anthropology, with particular application to the visual media and virtual reality. I am using a post-structuralist approach as it has been the most dominant discourse of replacing economic and social (power) relations with codes and the interplay between signifiers and signifieds. This, I find, is the most appropriate method for analysing both virtual systems and fashion, because, on an atomic level, they both depend on variables such as words and numbers. The code is therefore the common denominator of both disciplines. Furthermore, both disciplines use narrative for their proper function, video games for their back story and motivation of the player, and fashion for its advertising and promotion, as well as through archetypes and symbols. Fashion in this context works as a catalytic agent between post-structuralist codes in modern media as texts, and video games.
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Zanchi, Anna. "Dress in the Islendingasögur and ĺslendingaÞættir." Thesis, University College London (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488663.
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The study is a critical assessment of the Islendingasögur and ĺslendingaÞættir through the lens of costume and textile history, aiming to shed light on the possible connections or discrepancies between dress and identity within the narrative fabric. The process of characterisation is analysed in detail, with emphasis on the correlation between actions and behaviour on the one hand and physical appearance and clothing on the other. Particular attention is given to Norse aesthetic standards, the perception of beauty and of its absence, and their rendering in the corpus in question.
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Pereira, Vanessa Adelaide Ferreira Neno Amarantes. "Trade dress e a concorrência desleal." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/3235.
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Mestrado em Contabilidade - AuditoriaO presente trabalho pretende demonstrar que a protecção do trade dress pode assumir muitas formas, visto não existir legislação específica para a matéria em estudo. A propriedade industrial tem aqui um papel primordial, de forma, a regular a concorrência desleal. Há concorrência sempre que o consumidor seja induzido em erro ou em confusão, por encontrar à sua disposição produtos ou serviços com aparência exterior, de tal forma, semelhantes ou idênticos. O objectivo deste trabalho é evidenciar a importância do trade dress na protecção de produtos ou serviços e como a concorrência desleal é uma ferramenta útil na defesa dos consumidores. ABSTRACT: The present work intends to demonstrate that the protection of trade dress can assume many forms, seen not to exist specific legislation for the substance in study. The industrial property has a primordial job here, of form, to regulate it the unfair competition. It has competition whenever the consumer induced in error or confusion, for finding to its disposal products or services with exterior appearance, in such a way, identical fellow creatures or. The objective of this work is to evidence for the importance of trade dress in the protection of products or services and as unfair competition is a useful tool in the defense of the consumers.
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Chong, Kwan Sara. "Making sense of everyday dress : integrating multisensory experience within our understanding of contemporary dress in the UK." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12007/.
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Multisensory perception is fundamental to the wearer’s experience of everyday dress, yet this remains an under-researched area within fashion and dress studies. Dress is predominantly described in visual terms, while much less attention has been paid to other relevant sensory aspects such as; touch, sound,smell - and to a lesser degree taste - and to the ways in which these interact. Similarly, within the now established field of sensory scholarship, little attention has been paid to the topic of dress. One of the contributions of this thesis is to address the above gaps in relation to both male and female contemporary UK dress(and more generally, dress within a Western context). It also attends to the wider academic neglect of male dressed experience. This thesis draws upon sensory scholarship to bring a fresh perspective to current embodied understandings of everyday dress, thereby contributing to the field of dress studies by explicitly focussing on the sensory nature of dress. This research aims to foster an inter-disciplinary research field of ‘fashion, dress and the senses’. A new body of data, based on individual testimony around sensory experience of dress, has been collected using life-world interviews with twenty participants, both men and women, incorporating material culture analysis. Contextualised within the specific social and cultural lives of the participants, the analysis of this data is distinctive in that it weaves together material, cultural,social, phenomenological and sensory perspectives. The analysis explores how sensory engagement with dress affected both the materiality of the dress items and the participants by triggering behaviour,thoughts, memories and emotions. Felt on the boundaries of the body, dress is positioned as providing a sensory atmosphere for the wearer, one that negotiates the tensions between private and public experience, enabling the participants to push out into and pull back from the world. It is therefore argued that sensory engagement with dress is an integral part of the wearer’s everyday negotiation of the self within social life.
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Nielson, Jennifer L. "The Relationship Between Education About Dress Practices and Change in Perception of Self-Concept Related to Dress." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/421.
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The influence of an individual's dress practices on his/her sense of self has been studied for many years. Courses such as the Dress and Humanity course at Utah State University have been developed to educate students on the impact of dress on society. In this study, students in the Dress and Humanity course were given a pre-course and post-course survey to determine if self-perceptions related to dress practices underwent a change over the duration of the semester. Significant differences were found in the categories of body image, evaluating self-esteem, and communication of self to others. A relationship was found between survey responses and gender, degree of importance of clothing purchases, and how much money participants spent in the 365 days previous to the pre-course survey.
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Bågander, Linnéa. "BODY(dress?)SPACE(room?) : an exploration of dress at the intersection between body and arranged space through movement." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-411.
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This work is an exploration of the spatial boundaries of dress through the moving body’s interaction with arranged space. The work aims to question the distinction that is done between a “garment” and a “room” in the context of set deign and costume design as well as “dress” and “architecture”. The work is carried out through a series of staged experiments with different materials abilities to understand, extend or transform; - Movement of the body - The spatial boundaries of the body The work is a focusing on the similarities of set and costume design and garment and architecture rather than looking up on the differences and by doing so suggesting a more dynamic relationship between the traditional definitions. It challenges both the way dress is viewed upon within the context of fashion design as well as the room is viewed upon with in the context of architecture and through this is seeking to find a new context of the body. Because of its focus on the moving body’s relationship with arranged material the work is closely linked to the field of dance performance and the field of preformance have served as dialogue when developing the work. Eventhough the work is of artistic nature it is in line with the resent developments within architecture as well as textile design questioning the contemporary and suggesting for the future.
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Buckridge, Steeve O. ""Dem caa dress yah!" : dress as resistance and accommodation among Jamaican women from slavery to freedom 1760-1890 /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273239678.
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Carlson, Jessica Jean. "Building about the body: architecture as dress." Thesis, Montana State University, 2011. http://etd.lib.montana.edu/etd/2011/carlson/CarlsonJ1211.pdf.
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The body is the most significant factor in architecture. We foremost build to house people. We mediate external climatic factors with the outermost architectural layer to provide a comfortable interior for human habitation. However, over the centuries, architecture has become less about responding to human need and more about abstract ordering principles and surface articulation. Building skin is archispeak for the outermost architectural layer where this surface articulation predominantly occurs. It also is the most contemporary - and skewed - example of the anthropomorphic building as body analogy that, although is the oldest theme in architectural theory, is deeply flawed. By having buildings be bodies, the true connection with the body of the dweller is lost. Redirecting building as body to building as about the body allows architecture to refocus its emphasis on the true body / building relationship: the original formulating concept and process of the first architecture - the primitive hut. We first wore clothing to protect our bodies. The origins of architecture is the transition between shelter as clothing to shelter as including space. Gottfried Semper's bekleidung - dress principle - acknowledges this. The outermost architectural envelope is a layer of dress - not skin, a comfort extender one degree removed from our clothing and two from the body. Thinking about architecture as dress enforces the base principle of buildings being about the body. Architecture is synergetic shelter; of the body, by the body, for the body.
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Wood, Eleanor. "Displaying dress : new methodologies for historic collections." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/displaying-dress-new-methodologies-for-historic-collections(8ac9a65f-f153-43ca-88d5-d6e04ea5db1b).html.
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At the beginning of the twenty-first century British costume museums were failing to attract audiences; consequently, all but the Gallery of Costume, Manchester and the Fashion Museum, Bath were closed to the public. This thesis has sought to examine the traditional display methodologies of historic costume museums, using the Gallery of Costume as its primary case study of practice. This investigation problematises the theoretical assumptions upon which the gallery’s display methodologies are founded and compares its approaches to those taken in contemporary displays of historic dress. The findings of this investigation have been used to propose new approaches to the display of historic dress that aim to engage contemporary audiences. Using the research methods of participant observation, interviews and archival research the first chapter of this thesis outlines the development of the Gallery of Costume’s display methodologies, highlighting the agency of individual curators. The next two chapters explore the ways in which curators of dress reconstruct the bodies and personalities that give form to worn dress in the museum. The thesis moves on to examine both the methods by which the Gallery of Costume’s constructed history in its displays of history and the theoretical assumptions underlying its historiography. This chapter is followed by an exploration of the performance of fashion within the museum, attending to the way in which exhibitions can express dress as ‘living’ concept within accepted conservation guidelines. Finally, this thesis outlines a framework upon which reflexive exhibitions of historic dress can be built.
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Selander, Therese, and Emma Berger. "Dress for success - by using multichannel marketing." Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH. Forskningsmiljö Informationsteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-26918.
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Hamilton, Polly. "Haberdashery for use in dress 1550-1800." Thesis, University of Wolverhampton, 2007. http://hdl.handle.net/2436/14406.
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This study investigates the supply, distribution and use of haberdashery wares in England in the late sixteenth, seventeenth and eighteenth centuries, with especial reference to the paired counties of Cumbria and Lancashire, Warwickshire and Leicestershire, Hampshire and West Sussex. A brief comparison is also made with London. Through examination of documentary evidence and extant examples, it aims to set the provision and use of haberdashery for dress into the context of the Early Modern period, and challenges widely held assumptions concerning the availability of wares through the country. The purpose of the argument is firstly to demonstrate that haberdashery, being both a necessity and a luxury, was an important, and historically traceable, part of traded goods in the early modern period, and secondly, with particular reference to the response of retailers to changing needs and demands, to show that the widescale availability of haberdashery for use in dress made it significant in the expression of personal identity and appearance for individuals of all social strata, while its manufacture and distribution provided employment for considerable numbers of people.
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Mackrell, Alice Ann. "Dress in the Style Troubadour, 1774 1814." Thesis, Courtauld Institute of Art (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284798.
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Ma, Jin Joo. "Dress-scape : wearing the sound of fashion." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2799/.
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Can a sound itself be a garment? This practice-led research explores the sound of garments and fashion, which is unheard, unspoken or overheard, to suggest a new perspective for reconsidering garments and fashion. Through experiments with making, wearing and displaying, the research examines the sound, voice or silence embedded in garments and fashion and affective experiences aroused from garments as atmospheric spaces. A new term, ‘dress-scape’, is introduced and discussed through a series of practical and theoretical approaches to the concept. The research suggests that the dress-scape of a garment emerges as the resonance of sound, voice, noise or silence from the interplay between the garment and the maker, the wearer or the viewer. As the research attempts to locate fashion in a new place, the practice varies significantly from that in conventional garments. The maker rather explores non-wearable garments, other artefacts, installation, film and sound-making using diverse mediums. The practice, in turn, oscillates between fashion and art practice. The journal entries exist as a documentation of the maker’s reflections on the research journey and contribute to the development of both practical and theoretical renderings of the research. Inspired by the notion of ‘tacet’ (broadly, ‘silence’) as used in John Cage’s work, 4’33”, the research aims to invite the reader, the viewer and the listener to be silent and to ‘listen’ to the research, together with the maker, who also acts as the author and the composer. Thus, rather than acting as a series of problem-solving investigations for knowledge acquisition, the research is essentially the journey of the investigation of the maker’s tacit awareness of other related issues including modernist artists, film, architecture, the relationship between fashion and art, and curatorial display. This, in turn, adds to the value of the practice-led research, elevating it to an interdisciplinary study.
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Kim, Carolyn Y. "The fit of men's dress shirt collars." Thesis, This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-08042009-040404/.
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Allen-Johnstone, Claire. "Dress, feminism, and British New Woman novels." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:dd38da33-efbb-463f-86fd-9fcc1c4f707e.
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This thesis examines the close and complex relationship between dress, feminism, and British New Woman novels. It provides in-depth analysis of six New Woman novels and draws comparisons with numerous other works. The case study texts are Olive Schreiner's The Story of an African Farm (1883) and From Man to Man: Or Perhaps Only ... (1926, posthumously), Sarah Grand's Ideala: A Study from Life (1881) and The Heavenly Twins (1893), and Grant Allen's The Woman Who Did (1895) and The Type-Writer Girl (1897). I explore why dress was so important to such novels, and examine the diverse, individual, developing, and shared ways in which authors engaged with dress as a feminist strategy and feminist concern. Areas considered include From Man to Man's use of functional clothes and dress production to celebrate female labour, Grand's interest in both dress reform and dressing to impress, Allen's shift in focus from the white-clad free lover to the sensibly-dressed working woman, and authors' use of deceptively clean clothes to address male immorality and disease. The thesis looks beyond as well as within New Woman narratives, demonstrating that writers, and publishers, were broadly concerned with dress in its various literal and more metaphorical manifestations. Focuses include self-styling, authorial cross-dressing, and bindings. Dress does not, however, always seamlessly support these texts' feminisms, I argue. For example, Grand elevated cross-class feminism, but she belittled middle-class women's taste, side-lined poor women's most pressing sartorial concerns, and dressed to impress. I also stress that dress, being so closely bound up with New Woman novels' feminisms and their ambiguities, is a revealing lens through which to read such texts, and one often capable of prompting re-readings. Attention to Allen's rejection of sartorial realism in parts of The Woman Who Did problematises the dominant conception of this novel as straightforwardly pro-free union, for instance. The thesis, as well as gesturing towards dress's centrality to the production and interpretation of literary feminisms and anti-feminisms broadly, emphasises the importance of dress to New Woman literature and its analysts, and uses dress to provide fresh readings of various novels and genre-wide issues.
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Komski, Elizabeth A. "Fashion's Foes: Dress Reform from 1850-1900." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626325.
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Royce, Michael S. "There is Someone in This Dress, George." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5400.
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Questions surrounding queer subjectivity—including shame, the closet, and celebration—are at the core of my interests as a painter and image maker. Mining the history of religious iconography, including annunciation paintings, scenes of the crucifixion, and other notable works of this ilk, my paintings seek to explore the intricacies of sexuality and the workings of shame and celebration at play in the life of the queer-identified.
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Karimi, Sawsan Ghuloom. "Dress and identity : culture and modernity in Bahrein." Thesis, SOAS, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401765.
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Bridgeman, Rosalie Jane. "Aspects of dress and ceremony in Quattrocento Florence." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388272.
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Worth, Rachel J. "Representations of rural working class dress 1840-1900." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398961.
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Batchelor, Jennie Elizabeth. "Dress, distress and desire : clothing and sentimental literature." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1441.
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This study explores representations of the adorned female body in sentimental literature. In particular, it addresses the intersection of the discourses of dress, fashion and sensibility and the political anxieties such intersections expose. These concerns are located within current critical debate upon the implications of the feminine sentimental ideal for women readers and writers. Building upon recent scholarship, the introduction argues that sensibility was predicated upon a concept of the body as an index of feeling. This argument is subsequently complicated, through a reading of More's `Sensibility' (1782), which points to the potential of dress to function as both an extension of the corporeal index and metaphor for sensibility's propensity to lapse into affectation. Dress, as More implies, not only exposed but embodied the paradox status of sensibility as a symbol of selfhood externally expressed, and possibly affected mode of display. The opening chapters explore, in greater depth, the perceived antagonism between dress and the sentimental body. Chapter One centres on Pamela (1740) and the heroine's contentious appearance in her homespun gown and petticoat. Chapter Two explores textual representations of dressmakers and milliners, whose damning association with fashion ensured that they became personifications of and further justifications for critiques of dress as a form of social and moral encryption. Subsequent chapters on ladies' magazines and Fordyce's Sermons to Young Women (1765) discuss how writers, across various genres, responded to this antagonism by suggesting ways in which the adorned female body might become a synecdoche of sentimental virtue. Such texts, however, reveal the fault line upon which they and, by extension, sensibility rest. In analogising appearance and worth, writers had to uncomfortably acknowledge that, once outlined in print, such ideals became accessible to readers, potentially rendering virtue as easy to put on as a gown or petticoat. The final chapter addresses the escalating synonymy of fashion and sentiment in the 1790s, as critics argued that the distinction between genuine feeling and its performance had blurred to obscurity. Edgeworth's Belinda (1801) is read, in this context, as a counter-sentimental novel, which attempts to divorce the two through the rehabilitation of the woman of fashion as a woman of `true' sensibility: a wife and mother.
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Савицька, І. В., Марина Сергіївна Уткіна, Марина Сергеевна Уткина, and Maryna Serhiivna Utkina. "Охорона прав на "trade dress": досвід зарубіжних країн." Thesis, Сумський державний університет, 2020. https://essuir.sumdu.edu.ua/handle/123456789/79089.
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Питання щодо охорони таких об’єктів інтелектуальної власності як знаки для товарів і послуг, комерційні найменування, тобто засоби індивідуалізації учасників цивільного обороту, які необхідні в умовах сучасного ринку актуалізується в усьому світі. Проте, доволі рідко розглядається така категорія як "trade dress" або ж "фірмовий стиль" саме в контексті надання йому охорони як об’єкта інтелектуальної власності. На нашу думку, це зумовлено тим, що дану категорію часто ототожнюють із вищеперерахованими об’єктами і не надають їй статусу самостійного повноцінного елемента. Для того, щоб захист "trade dress" мав успіх, необхідно, у першу чергу, аргументувати, що "trade dress" є унікальним, не обумовленим функціональною потребою, а також є добре впізнаваним та відомим серед покупців, посягання на який наносить великі збитки його власнику. Це стосується як конкретних збитків, завданих через недобросовісну конкуренцію або вироблення підробного товару, так і посягання на право інтелектуальної власності особи, яка розробила цю концепцію, що обумовлює більш глобальні проблеми порушення прав людини. Тому визнання захисту "trade dress" є важливим кроком для будь-якої правової, соціальної держави.
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Roth, Amber Nicole. "What to Wear: Businesswomen's Choice of Professional Dress." Diss., Virginia Tech, 2009. http://hdl.handle.net/10919/77280.
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Previous research has shown that separately and in some combinations internal and external variables (e.g., fashion consciousness, the weather), in addition to the demographic variables of the individual (e.g., gender, age), can affect dress choice. The purpose of this study was to explore the relationships between the variables within the Choice of Professional Dress system and businesswomen's choice of professional dress along the classic–innovative fashion continuum (e.g., whether the professional dress is considered by the dress adopter as more classic or more innovative).
A model was developed for this study to illustrate the relationships between multiple variables that are proposed to influence an individual's choice of professional dress. A survey questionnaire was created to investigate businesswomen's choice of professional dress along the classic–innovative fashion continuum in regards to variables within two of the internal subsystems, the demographic subsystem, and the two external subsystems of the Choice of Professional Dress system. Data was collected via an online survey managed by a marketing research company. Participants were predominately married, Caucasian, businesswomen between 30 and 40 years old who held primarily occupations such as office and administrative support or management and financial operations. Multiple regression analyses and ANOVA were employed to test the relationships between the Choice of Professional Dress variables and businesswomen's selection of professional dress for work, as proposed in five main hypotheses.
Results of the multiple regression analysis and ANOVA indicated significant relationships between businesswomen's choice of professional dress along the classic–innovative fashion continuum and demographics (i.e., age, education), as well as internal variables (i.e., fashion consciousness, professional image/role, comfort, appearance labor, availability of professional dress) and external variables (i.e., company culture, company dress policies, profession). These results contribute to academia by providing a deeper and richer understanding of businesswomen's professional dress choice as well as the placement of these choices by businesswomen on the Fashion Continuum. Based on the findings, academic and practical suggestions as well as recommendations for future research were provided.Ph. D.
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Provo, Leah M. "The Little Black Dress: The Essence of Femininity." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943615.
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Stromberger, Joanne. "The Constitutionality of Dress Code and Uniform Policies." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4725/.
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This dissertation proposes to delineate the criteria for determining the constitutionality of public school dress codes based on an examination of relevant case law. The study addresses the following underlying questions: (1) Do students have a constitutional right to freedom of choice regarding their personal dress and grooming in public schools? (2) If so, what is the origin of the right? (3) What justification does a school district need in order to intrude upon the right? (4) Does the extent to which there is a right, and that it is accorded support by the judiciary, depend on the student's age and grade level? (5) What do state statutes say about dress codes and uniforms? (6) Do state statutes comport with the circuit courts' rulings in the various jurisdictions? The first part of Chapter I examines the purpose of school uniforms as set forth in relevant educational literature and commentary. The second part of the chapter examines empirical evidence on the effects of dress codes and uniforms. Chapter II addresses the first three questions listed above concerning students' right to choice in personal dress, the origins of such a right, and the justification required for a school to intrude upon this right. Chapter III examines dress code rulings from the United States Courts of Appeals in order to ascertain patterns of judicial rationale and determine whether students' rights vary depending on age, grade level, or federal circuit court jurisdiction. Chapter IV examines existing state statutes with regard to dress codes and uniforms. Chapter V utilizes the legal principles that emerge from the research in Chapter III and draws from the survey of state statutes in Chapter IV to make a comparison of state statutes and circuit court rulings in each jurisdiction. If a state statute does not comport with federal law in its particular jurisdiction, modifications are suggested to bring the statute into line with relevant judicial rulings.
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Littell, Sandra K. "Lulu and the new dress : an original text /." Access resource online, 2009. http://scholar.simmons.edu/bitstream/handle/10090/12594/Littell_Mentorship.SK.Littell.pdf?sequence=1.
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Cassels, A. K. "The social significance of late medieval dress accessories." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/6390/.
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This thesis uses belt fittings excavated from fifteen of the major towns and cities of late medieval England and is the first national survey of dress accessories from the urban centres of this period. This research moves beyond the identification and categorisation of these objects, which have been the traditional foci of studies of this type, to examine the wider social significance of dress accessories within contemporary late medieval society. The themes explored include the regional variation between the assemblages and the significance of this in terms of the expression of regional identities; the changes in production techniques and technology for the manufacture of dress accessories and the related changes in dress and its social perception from the mid-thirteenth century; the significance of dress accessories within a funerary context; the use of the acorn as a repeated decorative motif and the significance of this within the construction, maintenance and manipulation of personal identities; and the use of text on belts and belt fittings and importance of this in the construction of the symbolism of the belt within late medieval society. An interdisciplinary approach is used throughout which combines the material evidence with other forms of archaeological, literary, historical, and art historical evidence in order to place the dress accessories within their wider social context.
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Husman, Stephen H. "Side-dress Temik® Effects on Lint Yields." College of Agriculture, University of Arizona (Tucson, AZ), 1998. http://hdl.handle.net/10150/210391.
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Temik 15G was side-dressed at a rate of 7 lb./acre and 14 lb./acre and compared to an untreated check in 4 experiments in 1996 and 1997 in Buckeye, Az. Treatments were made just prior to early bloom. Lygus counts were taken using a sweep net on weekly intervals for four to six weeks post application. A net positive return on investment (ROI) ranging from $34.79/acre to $48.19/acre was realized in three of the four experiments with the seven lb./acre rate. One experiment resulted in a net economic loss of $24.84. A net positive ROI was experienced in two of the four experiments ranging from $23.31 to $50.11 using the fourteen lb./acre Temik rate. Two of the four experiments resulted in a net loss ranging from $28.28 to $93.27 using the fourteen lb./acre rate. It appears that lint yield increase responses are due in part to a plant response to Temik, not necessarily related to lygus density as evidenced in part by the lack of measured sweep count populations.
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Husman, S. H., and B. Deeter. "Side-Dress Temik® Effects on Lint Yields." College of Agriculture, University of Arizona (Tucson, AZ), 1997. http://hdl.handle.net/10150/211107.
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Temik 15G was side -dressed at a rate of 7 lb./acre and 14 lb./acre and compared to an untreated check in two experiments in Buckeye, Az.. Treatments were made prior to the second in- season irrigation (June 3 and June 5) which was just prior to early bloom. Lygus counts were taken using a sweep net on weekly intervals for six weeks post application. The first experiment resulted in a significant increase of 123 lb. and 1241b. lint in both the 7 and 14 lb. rate treatment respectively over the untreated check. The second experiment resulted in a significant 102 lb. lint increase for the 7 lb. treatment with no significant difference for the 14 lb. treatment to the check.
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Keller-Drescher, Lioba. "Die Ordnung der Kleider : ländliche Mode in Württemberg 1750 - 1850 /." Tübingen : Tübinger Vereinigung für Volkskunde, 2003. http://www.h-net.org/review/hrev-a0d5x6-aa.
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Walters, Helen Veronica. "Fancy a dress-up? A portrait of the complexities of adult fancy dress costuming as a lived experience and material practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15320.
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This thesis builds a picture of the inner workings of fancy dress as a form of adult socialization, individual expression and material practice. It uses ethnographic methodologies to study one particular group of regular fancy dress practitioners, a Sydney-based group of Baby Boomers friends of which I am a member. This group is worthy of study because they have participated in fancy dress parties for over thirty years and these events have been integral to building, shaping and sustaining their community. The thesis proceeds from the finding that the purpose of wearing fancy dress at parties is to draw people together in playful and shared celebration. It investigates the complexities of adult fancy dress manifests as a conduit for community entertainment and social cohesion. It also explores what being in a fancy dress costume brings to an event as well as exploring what is involved in its preparation and execution. Fancy dress is also a dress code that is part of the continuum of clothing and fashion etiquette that has boundaries of expectation and acceptance. Fancy dress practice is complex because it encompasses the meaning and production of fashion and dress, the hierarchies of appearance and gender, the performance of self and challenges our notions of the appropriately dressed body. The conclusion examines the role of dress- up as a popular form of social celebration in the broader community and points the way for further study.
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Wolf, Allyson Arbury. "Dressing wounds and healing justice a journey of individual and national transformation /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_wolf_031310.pdf.
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Chenault, Lindsay. "About tailored wearable design /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04202008-101336/.
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Thesis (M.F.A.)--Georgia State University, 2008.Title from file title page. Stan Anderson, committee chair; Nancy Floyd, Elizabeth Floop, committee members. Electronic text (55 p. : col. ill.) : digital, PDF file. Description based on contents viewed June 6, 2008. Includes bibliographical references (p. 53-55).
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Stegeman, Joanna Cathleen. "Professional speech-language pathologists' perceptions of appropriate clinical dress." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1185801676.
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FUETING, EVA. "Look in the past to dress for the future." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17440.
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Lopez-Gydosh, Dilia. "Puerto Rican Women's Dress, 1895-1920: An Acculturation Process." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394731295.
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Gibson-Quick, Robyn. "Art Deco influences on women's dress from 1915-1925." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400076412.
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