Dissertations / Theses: 'Fashion – History'

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Maksymets, P. V. "Interesting facts about fashion history." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11378.

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Колле, Софія Михайлівна. "The History of the Iconic Hermes Fashion Empire." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7350.

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Мисаковець, Надія Валеріївна. "Facts from the History of Fashion Design Development." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7372.

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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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HENRY, HEATHER FRENCH. "SOCIALLY CONSCIOUS FASHION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990735146.

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Товмасян, А. М. "A history of the world‘s most famous fashion magazine — Vogue." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10796.

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Sancaktar, Aslı Kipöz Şölen. "An analysis of shoe within the context ofsocial history of fashion/." [s.l.]: [s.n.], 2006. http://library.iyte.edu.tr/tezlerengelli/master/endustriurunleritasarimi/T000364.pdf.

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Tolley, Rebecca. "Review of Fashion Fads through American History: Fitting Clothes into Context." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5623.

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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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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.

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.

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Vuletich, Clara. "Transitionary textiles : a craft-based journey of textile design practice towards new values and roles for a sustainable fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12402/.

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

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Halbert, Jade. "'Marion Donaldson' and the business of British fashion, 1966-1999." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8993/.

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From its establishment in 1966 until its closure in 1999 the Glaswegian fashion design and manufacturing company, ‘Marion Donaldson’, was one of the most successful independent fashion businesses in the United Kingdom. The longevity enjoyed by the company coincided with a period of intense social, political, and economic upheaval in the United Kingdom, the effects of which contributed to the decline and eventual deterioration of the domestic fashion industry by the end of the century. This thesis takes ‘Marion Donaldson’ as its central case study, and uses the history of the company as a lens through which to investigate how the British fashion industry operated in practice, and how individual businesses in that industry collaborated, adapted to change, and coped with the industry’s decline. Structured around what were the four key sectors of the domestic fashion industry – design, manufacturing, sales, and retailing – this thesis demonstrates the importance of small businesses, collaboration, and balance to the industry as it battled decline. By focusing on a Glasgow example, it adds to the existing scholarship on British fashion and business in the post-war period, and goes some way to offering a corrective to those studies that have focused only on London-centric histories. The history of women’s fashion in the twentieth century has been dominated by metropolitan studies of elite clothing, while the history of mass-produced women’s wear and its associated industries have been overlooked. This thesis redresses the balance in this respect through analysis of evidence from the ‘Marion Donaldson’ Collection and the oral testimony of Marion and David Donaldson, owners of the company. In addition to oral history, the thesis builds on current methodology used in dress and textile history, economic history and the history of business and enterprise culture, and applies it to the wider context of the British fashion industry using a combination of surviving artefacts and traditional documentary sources.

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Bugg, Jessica. "Interface : concept and context as strategies for innovative fashion design and communication : an analysis from the perspective of the conceptual fashion design practitioner." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5663/.

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This practice-led PhD proposes alternative practices in a research and design context that explore the intersection of fashion, fine art and performance methodology and practice. The project exposes and documents the emergence and development of conceptual and experimental fashion and interdisciplinary practice at the edges of the fashion discipline. The research provides new insights into the way fashion designers can work conceptually and how their work might be perceived differently, dependent on contexts of presentation. It investigates how the concept behind the design and the context of presentation affect these readings for both the viewer and the wearer. It uncovers the emotional and experiential factors of fashion and exposes how we experience and respond to clothing/fashion in a variety of contexts. The thesis draws attention to the lack of specific identification given to conceptual thinking in fashion design as an outcome within its own right and proposes new applications and approaches to this practice. The research methodology developed within the practice extends the potential of communicating body related concepts to wearers and viewers through the medium of clothing worn on the body and can be applied in part or whole across a range disciplines. The thesis synthesises a body of knowledge to inform practitioners of conceptual fashion and reveals the complexity of communication between designer, wearer and viewer of conceptual fashion in specific contexts. The researcher has designed collections of concept-based work, which are not driven by market constraints, trends and seasons but by concepts and processes. These collections have been tested and analysed in a variety of contexts and written up as three major case studies. The process of design developed within this research focuses on the body, movement and behaviour; through experimentation and testing it reaffirms the emphasis on the creative process allowing for consideration of context as fundamental to the communication of embodied concepts. It is argued that it is necessary for fashion designers to review the way in which they design for specific contexts such as dance, exhibition and areas of fashion promotion and communication. This requires a different approach that pays attention to both concept and context at the point of inception.

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Rigby, Emma Dulcie. "Fashion design and laundry practices : practice-orientated approaches to design for sustainability." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12014/.

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This doctoral enquiry develops practice-orientated approaches to design for sustainability. It focuses on the relationship between garment design, laundry practices and sustainability, and responds to research that evidences domestic laundering as one of the most environmentally damaging stages in a garment’s lifecycle (Allwood, et al.,2006; Hansen, et al., 2007). A one-year laundry study surveyed the use and laundry of sixteen garments to ascertain the relationship between garment design and laundry behaviour. The research findings revealed that laundry behaviours are complex and unpredictable, and often not directly linked to producing cleaner clothes. Laundry routines are underpinned by factors beyond cleanliness including: garment use, social auditing, garment aesthetics,life stage, cultural norms, and spatial arrangements within the household. Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. The findings highlight that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. It decentres material products and attends to the embedded social dynamics that are set within a nexus of spaces, materials, thoughts, actions and emotions. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion. The central insight from the research shows there are multiple benefits from incorporating social theory into methodologies for design for sustainability.

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Xie, Zhuozhao. "Minimalism as a key trend of fashion industry in recent years." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18195.

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The author explores the roots of minimalism, its tendencies of growth in the fashion industry, key people, that changed the flow of the history of minimalism as a style. The author's purpose in writing the article is to analyze minimalism and forecast tendencies of its development in the nearest future. The object is minimalism as a style, with the main focus of research in recent trends in the fashion industry. Experimental, theoretical (analysis, definition and classification) methods were used.

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Orians, Emily Anne. "A Picture Tells a Thousand Years." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304697179.

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Lynge-Jorlén, Ane. "Between edge and elite : niche fashion magazines, producers and readers." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/6510/.

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This thesis examines contemporary niche fashion magazines and uses as a case study an ethnographic investigation of a niche fashion magazine and its producers and readers. Fashion magazines are instrumental not only in helping readers make sense of, understand and consume fashion; they are themselves fashionable media that set trends in how fashion is mediated. Niche fashion magazines are a sub genre of fashion magazines that is produced and consumed by cultural intermediaries. They are part of a complex cultural circuit which involves their marketing, production, circulation, textual representations and readers' consumption. Within this circuit values, meanings, codes, notions and practices of fashion are exchanged, and these are the focus of this thesis. This thesis examines the niche fashion magazine genre, addressing its hybridised quality of art, popular culture, high fashion, elite and edge. Through active participant observation, the case study explores the production practices and the different economies and values that inform the encoding of fashion into the magazine. Drawing on in-depth interviews with niche fashion magazine readers, the thesis also explores how readers make sense of niche fashion magazines by engaging with their symbolic value. Within the fashion press niche fashion magazines are the focal media for the tastemakers of fashion. Yet niche fashion magazines as an object of inquiry has been neglected by academia, which has paid more attention to women's and men's magazines and their textual representations. A central aim of this thesis is to contribute to an understanding of the meanings of fashion mediation with a specific focus on the methodological integration of textual, consumption and production analysis. By generating new insight as to how fashion is exchanged and mediated between producers and readers of niche fashion magazines it contributes to the study of fashion within sociology and media research.

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Ripley, Julie. "Surf's Us : constructing surfing identities through clothing culture in Cornwall." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13447/.

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Critical literature on surfing is concerned primarily with its development as a competitive sport, focusing on ‘stand-up’ surfing in the USA and to some extent in Australia, resulting in a body of work populated almost exclusively by young white males. However, in Cornwall, forms of surfing including belly and body boarding have been enjoyed for almost a century by all ages and ethnicities, both sexes, at every level from international competition to non-competitive leisure, from daily practice to holiday novelty. The area has developed a distinctive clothing culture stemming from this plethora of surfing activities. This study asks, how has the material culture of bellyboarding and surfing in Cornwall developed historically, and how does the clothing culture in the area relate to the global phenomenon of surf style? The contemporary scene is evaluated by means of a visual ethnography of a Cornish seaside village where surfing is the focus of social events and commercial endeavours. Through an examination of the clothing culture in the area, it explores how gender and sexuality, class and consumption, community and belonging are negotiated and articulated. The historical and cultural contexts in which this complex relationship developed are discussed with reference to archival material from regional museums, personal collections and interviews with amateur and professional surf historians. Oral histories of surfing, bellyboarding, bodyboarding and beach life compiled for the study and from existing collections are additionally used to interrogate existing narratives of surfing history. Drawing on and extending theoretical perspectives on subculture, taste, consumption, space and place, this will be the first study that investigates how the clothing culture of surfing explores and constitutes, constructs and reconstructs gender, class and regional identity, and how it defines and redefines the region’s surfing locales by its visible presence.

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Mong, Megan Lois. "Modest Dress as Literacy Practice in English-Speaking Conservative Mennonite Groups." Thesis, The University of North Dakota, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10845634.

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English-speaking conservative Mennonites exercise a distinct set of dress practices that are not often understood by people outside the community. Advances in New Literacy Studies pave the way to understand their dress practices as a type of literacy. Multiple literacies work together to inform conservative Mennonite dress practices. One of these literacies is the reading and writing of religious texts. A second literacy is a form of heritage literacy where clothing functions as a multimodal text. Conservative Mennonites use their clothing to codify their Christian identity, gender roles and church affiliation. They intend their clothing to represent who they are to the people around them. A conservative Mennonite woman's head covering is a subversive, embodied text that corrects power imbalances they perceive between masculine and feminine. The results of viewing Mennonite dress practices through the lens of literacy show them to be a coherent sign system that passes between generations.

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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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Robinson, Rebecca J. "American Sportswear: A Study Of The Origins And Women Designers From The 1930’s To The 1960’s." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1054926324.

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McDowell, Felice. "Photographed at ... : locating fashion imagery in the cultural landscape of Post-War Britain 1945-1962." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/7174/.

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This thesis explores a history of fashion and art in post-war Britain. The historical analysis of this study focuses on how institutions and spaces of public culture – such as museums, galleries, exhibitions and art schools – were used as locations for editorial photo-spreads published in the British editions of Vogue and Harper’s Bazaar between 1945 and 1962. Fashion magazines participate in the cultural production of art by depicting its institutions, its products and producers as fashionable. This thesis interrogates the ways in which the field of fashion, and fashion media in particular, thereby gives symbolic value to the field of art through its mediation. In its examination of the ways in which representations of art and fashion have been meaningfully constructed for a high fashion magazine readership, the thesis contributes to a further understanding of the relationship between fashion and art, and affords new insights into the cultural history of post-war Britain. The theoretical framework of this study engages with Agnès Rocamora’s model of ‘fashion media discourse’, which brings together the work of Michel Foucault and Pierre Bourdieu. This thesis draws upon Foucault’s work on ‘discourse’ and Bourdieu’s concept of ‘cultural production’ in order to conduct an ‘archaeology’ of post-war British fashion media and its participation in the cultural production of art. This thesis has developed Rocamora’s concept in its application to a specific historical study of fashion media. In doing so, this thesis contributes to a wider understanding of how the theoretical work of Foucault and Bourdieu can be applied in the scholarly research of fashion media and histories of fashion. This thesis contributes to the further knowledge of practices in history concerning methodologies of archival research and textual analysis.

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Martin, Amanda L. "Infusing High Fashion Streetwear with Personal History| Creating the Costume Design for Polaroid Stories." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751933.

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The costume design for Naomi Iizuka’s Polaroid Stories focused on the adaptation of runway fashion to street clothes for the homeless characters in the play. The dichotomy between runway fashion and the homeless youth visually represents the nature of the play. It explores the societal oppression of youth living on the streets who are constantly striving for what they cannot achieve. The use of distressing on the costumes was crucial in portraying the extent of the character’s plight. The collaboration between scenic, lighting, sound, hair, and makeup design, created a successful visually new portrayal of Polaroid Stories.

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Biddle-Perry, Geraldine Elizabeth. "Fashioning social aspiration : lower-middle-class rational recreational leisure participation and the evolution of popular rational recreational leisure clothing c.1880-1950." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/6395/.

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Snoyman, Natalie. ""In to Stay" : Selling Three-Strip Technicolor and Fashion in the 1930s and 1940s." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-146279.

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This study investigates the relationship between the fashion and film industries during the classical era between the early 1930s and mid-1940s. It focuses on the three-strip Technicolor process as the binding force upon which these two industries relied in collaborations during that time and looks at technical challenges the new process presented to productions in terms of wardrobe design. Another issue explored is fashion’s role in the actual development of the three-strip process, allowing the Technicolor laboratory to improve the technology through a popular, marketable, and readily available product. Using Technicolor as a point of focus and continuity, this dissertation explores different types of productions filmed in the three-strip process, including shorts and newsreels, industrial and sponsored films, as well as feature-length films. Drawing from a wide range of archival material and a highly interdisciplinary approach, the study delves into the relationship between the fashion and film industries. While the ties between them have been strong since the advent of cinema, previous research has approached their relationship almost exclusively from a promotional perspective. Technicolor’s multifaceted affiliation with the fashion industry, however, warrants a more thorough investigation and this dissertation takes steps towards expanding that research area through a series of case studies. The first chapter provides an overview of color film methods that preceded three-strip Technicolor and outlines some of the key discourses involving color and realism. Chapter 2 addresses the intertwined relationship between the fashion and film industries through a study of fashion department in the popular fan magazine Photoplay and also examines the use of color in that publication. Chapter 3 investigates the fashion short as a vehicle for demonstrating the commercial potential of the three-strip process. It does this by examining the making and promotion of Vyvyan Donner’s Fashion Forecast series. This chapter also looks at the specific work carried out by Technicolor’s Color Control Department. Chapter 4 explores industrial and sponsored films in three-strip Technicolor for the fashion industry with an emphasis on those made to promote rayon. The second half of this chapter examines the 1930/1940 seasons of the New York World’s Fair, focusing on the presence there of Technicolor and the American rayon industry. Lastly, Chapter 5 looks at three-strip Technicolor in feature-length films by considering its collaborations with the fashion industry that took place in the classical era. This chapter also examines design considerations made regarding wardrobe in those films. The study concludes that color’s versatility made it incredibly influential on consumer culture and was key to ventures between the fashion and film industries in this era and beyond. It also ultimately demonstrates the ways in which color, fashion, and film intersected and complemented one another in terms of their aesthetic and commercial commonalities.

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Allard, Julie 1977. ""Nous faisons chaque jour quelques pas vers le beau simple" : transformations de la mode française, 1770-1790." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79280.

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This thesis analyses the simplification of fashion in the French "beau monde" at the end of the eighteenth century. It reveals that the simplified fashion of the 1770s and 1780s was the result of a new feeling for nature. New perceptions of the body led physicians to plead for a new fashion, more respectful of the natural characters of the body. On the aesthetic level, natural simplicity was meant to be the only way to recover original truth and energy. Moreover, anglomania, by way of sustained exchanges with England, contributed to the development of a simpler and more egalitarian fashion. This new feeling for nature reflects profound changes in the French society at the end of the century. The idea of nature, defined according to the values and ideals of a rising bourgeoisie, conveyed a bourgeois spirit no longer restricted to a narrow social group.

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Tynan, Jane. "Representations of soldiering : British army uniform and the male body during the First World War." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5656/.

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This thesis explores the role of First World War British army clothing to the representation and experience of men through popular culture, official regulations and personal accounts. The aims of the research are threefold. Firstly, it examines how mass mobilisation altered sources and systems of army clothing supply to consider how large-scale production and consumption shaped masculine identities. Secondly, the thesis argues that khaki service dress was part of the iconography of war, a visible signifier of active military participation and object of evocation and memory. Finally, it explores tensions between individual experience and collective myth to consider the role of clothing practices to the formation of ideas about gender, class and the relationship between the body and technology during the First World War. The discussion explores themes of gender and visuality through a focused analysis of the ways in which British army uniform was worn, promoted and made between 1914-1918. It shows how the specific design of khaki service dress drew attention to the body, created illusions of corporeal durability and suggested equality through an aesthetic of standardisation. The work of Michel Foucault is used to consider how cultural practices shape objects, specifically in relation to disciplinary techniques and gendered practices in military culture. The thesis shows how the service dress enabled techniques for body discipline and standardisation, but also how its role in military discourses perpetuated the fiction of a singular and uniform masculinity. Thus, the research explores the formation of meaning of army clothing in wartime through popular representations, but tests their reliability against a range of other kinds of sources such as personal accounts, production processes, trade organisation and official regulations. As clothing links a number of related concerns, the thesis uses uniform to establish a dialogue between formerly discrete disciplines, in particular, military history, social history and cultural studies. This exploration of the significance of military uniform, an object experienced by a wide range of social groups, contributes to current debates about British popular culture during the First World War.

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Palmer, Helen Alexandra. "The myth and reality of haute couture : consumption, social function and taste in Toronto, 1945 - 1963." Thesis, University of Brighton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282868.

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This thesis investigates the multi-faceted use of haute couture in Toronto as a symbol of English-Canadian women's postwar cultural identity. European and Canadian couture are related to their socio-economic use in the wardrobes of elite Toronto women whose needs and taste directly reflected etiquette codes, the expanding social season, and the requirements for functioning within it. Couture is contextualized beyond a status symbol, and seen to be a necessity in the performance of women's social roles and volunteer work in establishing arts and charitable organizations. It was vital in creating a national sartorial taste for English-Canadian women, and in defining their social and cultural identity during the postwar years. Further, it examines and analyzes the systems of buying and distributing European couture by Canadian retailers, then explores the relevance of these imports for Toronto's department stores, boutiques and their customers. Integral to this documentation and analysis, is the use of a multidisciplinary methodology that weds material culture with oral history, film and printed archival research. This has made it possible to document the movement and the function of couture from production, distribution and consumption, to its use and meaning in the context of postwar Toronto. By examining couture consuniption in terms of its cultural and economic meaning this study touches upon and informs several academic fields; it contributes to the scant research on twentieth century couture, especially on Canadian dress, as well as to Canadian women's social history.

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Stead, Lisa Jane. "'The emotional wardrobe' : a fashion perspective on the integration of technology and clothing." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5662/.

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Since the Industrial Revolution, fashion and technology have been linked through the textile and manufacturing industries, a relationship that has propelled technical innovation and aesthetic and social change. Today a new alliance is emerging through the integration of electronic technology and smart materials on the body. However, it is not fashion designers who are exploiting this emerging area but interaction design, performance art and electronic and computing technologists. 'The Emotional Wardrobe' is a practice-based research project that seeks to address this imbalance by integrating technology with clothing from a fashion perspective. It aims to enhance fashion's expressive and responsive potential by investigating clothing that can both represent and stimulate an emotional response through the interface of technology. Precedents can be found in the work of other practitioners who merge clothing design with responsive material technology to explore social interaction, social commentary and body responsive technology. Influence is also sought from designers who investigate the notion of paradoxical emotions. A survey of emotion science, emotional design, and affective computing is mapped onto a fashion design structure to assess if this fusion can create new 'poetic' paradigms for the interaction of fashion and technology. These models are explored through the production of 'worn' and 'unworn' case studies which are visualised through responsive garment prototypes and multimedia representations. The marriage of fashion and technology is tested through a series of material experiments that aim to create a new aesthetic vocabulary that is responsive and emotional. They integrate traditional fashion fabrics with material technology to enhance the definition of fashion. The study shows that the merger of fashion and technology can offer a more personal and provocative definition of self, one which actively involves the wearer in a mutable aesthetic identity, replacing the fixed physicality of fashion with a constant flux of self-expression and playful psychological experience. The contribution of the research consists of: the integration of technology to alter communication in fashion, a recontextualisation of fashion within a wider arena of emotion and technology, the use of technologies from other disciplines to materialize ideas and broaden the application of those technologies, and the articulation of a fashion design methodology.

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Cholachatpinyo, Anothai. "Towards a conceptual model for the apparel industry in Thailand focused on domestic fashion origination." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/5939/.

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This thesis has several strands relating to the future prospects of the Thai fashion industry, which has undergone recent instability in the context of the global fashion system. They presuppose a reorientation and/or development of the domestic economy and culture of consumption of Thailand to favour innovation, originality and personal identity. The thesis will present an argument based upon the creation of conceptual models derived in part from existing models and theories, from literature surveys and empirical studies. A new framework to conceptualise the fashion process in Thailand called, the Thai Fashion Process Model is presented. Through the process of the comparative studies, the fashion process in the West is set against that which exists in Thailand. The Western fashion process model integrates much previous research about the fashion process, fills important gaps that the symbolic interactionist theory of fashion omits, and makes a number of new predictions about the translation of social trends into specific lifestyles and individual differences within the commodification process. The model purposes two important fashion forces: the differentiating force and the socialising force. These operate at different levels (macro and micro) and through different fashion practitioners. The empirical studies gathered data tor analysis through interview and questionnaire surveys at the micro-level in both the UK and Thailand within the context of the conceptual framework. Additional data tor analysis was also gathered relative to the macro-level. The studies provide excellent support for the reconceptualisation and, in particular, suggest that individual psychological factors might be given a new prominence in the overall fashion process and the way in which new fashions emerge. The new Thai Fashion Process Model presents a different direction in the fashion change sequence, which implies a reorientation of the industry towards a high priority in domestic fashion origination and innovation. The socio-cultural economic changes require a refocusing towards individual or segmented consumers' motivation, needs, and desires as opposed to the conformity that exists in contemporary Thai society in its domestic consumption.

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Barratt, Claire. "An investigation into the cultural meanings of contemporary mourning and memento mori jewellery (London 1980-2008)." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/9609/.

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This thesis surveys various types of jewellery that reference death which emerged between 1980-2008. It compares them to their historical precedents, particularly mourning and memento mori jewellery, which had fallen out of use by the early twentieth century. The return of this imagery in late twentieth century jewellery might suggest a revival of older, obsolete rituals of death and mourning, and imply changes in popular attitudes towards bereavement and grief, even a new cultural acceptance of death and mortality. However, the contemporary meanings of the new jewellery appeared to be more varied, wide-ranging and ambiguous than those of their historical precedents. The thesis examines some of the changed meanings and altered contexts for the new mourning and memento mori jewellery, by surveying a broad range of jewellery that is normally studied separately within different academic disciplines. It is sourced from the funeral industry, subculture, studio jewellery, pop memorabilia, mass market and avant-garde fashion. In addition, the thesis examines the narratives and meanings that jewellery is imbued with by individuals following bereavement or illness. It addresses questions of how, or whether, items of jewellery differ from other forms of material and visual culture because they are worn objects. Throughout the thesis, jewellery is the key focus and it is analysed using methods from material culture studies, design history and sociology. Together, the breadth of sources and interdisciplinary approach demonstrate that jewellery worn to signify death, memory and mourning is part of a continuum of the wider symbolic and sentimental value of jewellery. The thesis shows a new separation between the functions of mourning and memento mori in jewellery; the absence of an unambiguous, recognisable visual language of death; and a greater, but more private, degree of individualisation of grief in contemporary mourning jewellery than that found in earlier periods.

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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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Egner, Katherine Eileen. ""By Measures Taken of Men": Clothing the Classes in William Carlin's Alexandria." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626659.

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Bartlett, Djurdja. "Ideology and clothes : the rise and decline of socialist official fashion." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/7761/.

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This thesis focuses on the relationship between the socialist system and fashion in four countries: Croatia, Czechoslovakia, Hungary and the Soviet Union during seventy-two years of communist rule. From its beginning in 1917, the socialist system had an antagonistic relationship with fashion, which eventually turned into a grudging acceptance by the end of the 1980s. I identify two main types of sartorial official codes within socialism: utopian dress and socialist official fashion. I analyse these ideological constructs through the concepts of time, class, taste and gender. The symbolic production of utopian dress was informed by the initial Bolshevik rejection of the past and the search for a totally new type of clothes. Socialist official fashion reflected the regimes' ontological fear of change and discontinuity, and in the later phases of socialism their need to dress up their new middle classes in civilian clothes. The socialist regimes failed to invent a new socialist dress. Instead, they embraced the most traditional aesthetics in dress and the most conventional notion of gender. I demonstrate that similarities and differences in socialist official fashion were informed by ideological shifts within the master narratives in the respective countries. I conclude that the problematic relationship between socialism and fashion was caused by their ontological differences.

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Douglass, Melinda. "The utilization of clothing imagery into the fabrication of jewelry." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724959.

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The primary objective of this creative project was to develop an imagery source through the observation and analysis of historical and contemporary clothing. The secondary objective was to produce both jewelry and functional objects in metal that reflected the author's personal interpretation of such garment forms. This body of work employed a variety of traditional metalsmithing techniques.
Department of Art

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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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Kutesko, Elizabeth. "Fashioning Brazil : globalization and the representation of Brazilian dress in National Geographic." Thesis, Courtauld Institute of Art (University of London), 2016. http://ualresearchonline.arts.ac.uk/12111/.

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As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.

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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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Kyaga, Ulrika. "Swedish Fashion 1930–1960 : Rethinking the Swedish Textile and Clothing Industry." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145428.

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The aim of this thesis is to explore the development of Swedish fashion between 1930 and 1960 by examining the textile and clothing industry from the wider perspective of fashion production. It was during this period that Sweden was transformed into a leading industrial nation, which laid the foundation for increased prosperity in the post-war period. This historical and empirical study is predominantly based on systematic analysis of Swedish official statistics and close reading of the fashion press. The thesis applies a combination of approaches in the analytical chapters (chapter 2–4) that include three central aspects of fashion production: manufacturing, symbolic production, and the production of a national fashion. Chapter 2 gives an account of the industrial production of clothing and examines the scope, size and structure of the textile and clothing industry. The results confirm its importance to the Swedish economy in the period. One important finding shows that a shift in production from tailored outerwear to lighter garments occurred as early as the mid-1950s. Chapter 3 investigates the symbolic production of fashion by looking at the structure of the field of fashion in Sweden. The results show a French dominance where couturiers were celebrated as creative ‘artists’. A significant finding is how the idea of Swedish fashion was considered a process of creating economic value, as in clothing manufacturing. Chapter 4 deals with fashion as an expression of national culture. The result reveals a significant fashion culture associated with an everyday wear fashion that followed the Social Democratic reforms aimed at equality in society during the period. One important finding is that the wool coat was the hallmark of Swedish fashion identity in the post-war period. These results contribute to a broader understanding of fashion production and new insights into the history of its developments in Sweden between 1930 and 1960, which has gone largely unrecognised by previous fashion historians.

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Svanberg, Kerstin. "Bringing the history of fashion up-to-date; towards a model for temporal adatation in translation." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-22629.

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In cultural adaptation, the translator has a solid theoretical ground to stand upon; scholars have elaborated strategies that are helpful to this effect. However, there is little research, if any, to rely upon in the matter of temporal adaptation. The aim of this paper is to fill this gap. The primary data used in this translational study consists of an English source text that was published in 2008 and the resulting target text, translated to Swedish in 2012. Hence, in order for the target text to function in its time, there was a four-year long time gap to fill with accurate and relevant data and in a style that would not deviate from the author’s original intentions; the target text needed to be temporally adapted. In what follows, I will suggest a set of strategies for temporal adaptation. The model is elaborated with strategies for cultural adaptation as a starting point and based upon measures taken to relocate the target text to 2012. The suggested strategies are time bridging, updating, adjustment and omission. These four strategies make up the model that I put forward to bridge the theoretical gap that seems to prevail in the matter of temporal adaptation. However, considering that the data used in this study was relatively limited, the applicability of the strategies may be the scope of future studies.

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King, Julie. "Colour forecasting : an investigation into how its development and use impacts on accuracy." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5657/.

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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.

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Worth, Syd Graham. "Textile design consultancy in the U.K. : a study of a small group of textile design consultants working in the U.K." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267443.

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Romanato, Daniella. "A história da roupa e da moda estudada pelos figurinos cinematográficos = The history of clothing and fashion studied film costumes." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284539.

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Orientador: Ernesto Giovanni Boccara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-22T09:42:02Z (GMT). No. of bitstreams: 1 Romanato_Daniella_M.pdf: 8028639 bytes, checksum: 26be66290d763bd90b86172147fa5127 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa pretende discutir a metodologia de ensino de história da roupa e da moda através do cinema. É pacífico que se aprende por observação e que o cinema exerce fascínio desde seu surgimento. Também é sabido que filmes apresentam figurinos, que nem sempre são roupas fiéis a uma época, mas, mesmo assim, estas podem ser a melhor forma de aproximar o aluno do contexto de uma determinada época, para que ele seja capaz de entender o porquê da adoção de determinados costumes e roupas em seu cotidiano
Abstract: This study discusses the methodology of teaching the history of clothing and fashion through cinema. It is undisputed that is learned by observation and fascination that cinema has since its inception. We also know that movies have costumes, clothes that are not always faithful to the era, but even so, they may be the best way to approach the student in the context of a particular time, that he may be able to understand why the adoption of certain customs and clothes in their daily lives
Mestrado
Multimeios
Mestra em Multimeios

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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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The subject of this qualifying paper is an Edo Period Nō theater chōken. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment.

First, 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. Second, 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. Third, 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. Fourth, there were areas of weft breakage exposing warps. Fifth, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. Sixth, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss.

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.

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.

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.

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.

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Jeffers, Leah Rachel. "Fashion and Court-Building in the Sixteenth-Century Florentine Ducal Court: Politics, Agency, and Paleopathology in the Wardrobes of Eleonora di Toledo and Giovanna d'Austria." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1024.

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Fashion in the Renaissance became intensely political, highly gendered, and anatomized (i.e. emphasizing human anatomy rather than masking it). Court culture placed a particular emphasis on the body of the courtier, as skills such as dancing and dressing fashionably became crucial to political success in states throughout Europe. In sixteenth-century Florence, the Medici attempted to install a duchy in what was at the time a republican city (with strong republican heritage). Florentine fears of foreign domination and resentment towards non-republican forms of government made the Medici’s task nearly impossible. Fashion became a primary pillar of the Medicean political agenda, as the first members of the Medici family to hold official power in the Florentine Grand Duchy (and their wives) dressed quite modestly in comparison to other sixteenth-century heads of state, so as not to appear to have imperial or monarchical pretensions and thus arouse dangerous levels of antipathy from their Florentine subjects. The first Grand Duchess, Eleonora di Toledo, and the second, Giovanna d’Austria, faced an additional challenge as foreign brides marrying into the Medici duchy, as they were themselves representatives of the influence of imperial power in Florentine politics. They both were faced with countless factors to consider as they made choices about how to dress, and each choice had political, social, and economic implications and consequences.

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Surrarrer, Caroline A. "BEHIND THE LABELS: LIBBY PAYNE, FASHION DESIGNER FOR "MRS. MAIN STREET AMERICA"." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461236604.

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Lifter, Rachel. "Contemporary indie and the construction of identity : discursive representations of indie, gendered subjectivities and the interconnections between indie music and popular fashion in the UK." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5681/.

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This thesis presents a historicized account of the construction of identity within contemporary indie. Indie emerged as a music scene in the early 1980s, and existing scholarly accounts of it focus on practices of music production and consumption. Indie has expanded and diversified over the last 30 years, however. Crucially, in the UK it has become increasingly interconnected into popular fashion – a development that has transformed indie from being a space solely for the construction of masculine identities, as it was in the 1980s, into a space for the construction of both masculine and feminine identities. These transformations within indie have not been addressed, and one of the contributions of this research is to fill this gap. This thesis contributes to the field of youth cultural studies by providing new knowledge on the relationship between youth culture and popular fashion. Drawing on the Bourdieuian concept ‘field’, the thesis explores the relationship between the sub-field of indie music and the field of popular fashion in the UK, arguing that contemporary indie forms at the points of overlap between these two fields: where their value systems are mutually informative and where their value systems diverge. Drawing on Foucault’s concepts ‘discourse’ and ‘practices of the self’, this thesis explores the way in which this complex popular cultural formation creates a space for the construction of identities. Through an analysis of media representations, it considers the discursive constitution of indie, and through an analysis of participant observation and interviews, it explores the ways in which those people participating in this formation construct the self. The thesis contributes to the field of fashion studies in that it draws together these two methodologies into an examination of the construction of identity and, more specifically, gendered identities.

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Cambridge, Nicolas Adam. "Son of Samurai, daughter of butterfly : fashioning Japan in the sartorial culture of the United Kingdom, 1980-2006." Thesis, University of the Arts London, 2008. http://ualresearchonline.arts.ac.uk/6508/.

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The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.

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Guenther, Irene. "Nazi "chic"? Fashioning women in the Third Reich /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3032406.

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da, Motta Amadeu Flavia Regina. "Reflecting on capabilities and interactions between designers and local producers through the materiality of the rubber from the Amazon rainforest." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12018/.

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Designers have recently become increasingly involved with small-scale producer communities around the world, mostly in the southern hemisphere, and this increase has highlighted the significance of these encounters in the creation of economic and social opportunities for those peoples. This study identifies that, however, these encounters present challenges and imply ethical responsibilities that current design methodologies fail to embrace in their long-term goals. This research investigates the interaction between designers visiting local producers whose livelihood is deeply dependent not just on the natural environment and their local culture but also on the process of fabrication. This thesis proposes a new methodology to guide designers and producers through a reflective process of social change in producer communities. This methodology derives from a combination of activity theory and the capability approach to wellbeing applied within design and producer community practices. The aim is to support a dialogical and holistic design approach to this kind of cooperation, as well as to endorse research and professional practice in the field of design for social change. This research seeks to break new ground by generating perspectives that support both designers and local producers in tackling and resolving issues of individual and collective wellbeing. The research draws on interviews with designers working with local producers in different countries. In addition, the author presents her own experiences of researching and working with Amazon rainforest rubber-tapping communities which have adopted new production methods in order to acquire new capabilities and help conserve their environment. Two case studies illustrate the reflective methodology applied to the designer and producer interactions within social innovation and entrepreneurship. But it is fundamentally the materiality of the rubber, and the revelation of the interdependences within and without the locality, that form the framework of this thesis.

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Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.

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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.

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Dissertations / Theses on the topic 'Fashion – History'

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