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Swarup, Ashish, and ash198@gmail com. "Application of Traditional Medicines on Textiles." RMIT University. Fashion and Textiles, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080521.114106.
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As science and technology has developed, the manner by which drugs can be delivered has grown. This research explores an alternative method for the delivery of therapeutic compounds to the body. The basis of the study involves the application of traditional medicines on textiles. Boswellia Serrata Extract (B.S.E.) is a common traditional medicine used for curing body pains. The most common form of B.S.E. based products are creams that are applied directly to the skin. Experiments show that these creams were not suitable as a basis for applying to textile materials because the creams contain highly volatile compounds, which on drying the treated textile, post application, cause almost total loss of the B.S.E. The approach used was the application on textiles of a 'commercial' topical medicine applied as a cream for, where B.S.E. is a major constituent. Cotton woven fabric was padded with this cream and tested for washing and rubbing fastness. The presence of highly volatile substances in the topical cream resulted in a negligible amount of the medicine on the dried treated fabric. Another approach was used for the application of B.S.E. onto the textile substrate. A commercially available B.S.E. powder was applied to woven fabric using a pad mangle. Tests were carried out to validate the
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Raubenheimer, Hendrieka. "WARP + WEFT : translating textiles into interior architecture - in search for inspiration and continuation of African textile traditions." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/30222.
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WARP and WEFT is a textile making guild, intricately woven into KNOOP, the proposed Clothing and Consumer Science building for the University of Pretoria. This building is situated in Hatfield next to the railway line, in close proximity to the Gautrain station and Rissik Station. KNOOP was designed in 2008 by Korine Stegmann in fulfilment of her MArch(Prof) at the University of Pretoria. Therefore, the building in which the intervention is proposed is, to date, only an architectural proposal and has not yet been built. The project was initiated due to a fascination with textiles and the relevance of textiles in interior architecture. This fascination with textiles is ascribed to the following: The first intriguing aspect of textiles is the structure and the underlying construction principles of textiles. The second aspect is the unique character of textiles compared to other building materials. Another interesting notion is the current international textile trend and current re-focus on textiles as a construction material after a long period of being neglected. The current hype about textiles is ascribed to the tactile qualities of textiles, which opposes an increasing movement towards virtualism. The raw and organic production process of handmade textiles is desirable and opposes automated production. Similarly to the Arts and Crafts movement, designers are once more interested in handmade products. Fourthly, textiles used in architecture has the intriguing ability to create an architecture which better relates to fashion in terms of fashion’s ability to easily change and adapt; fashion’s fleeting nature. Lastly, handmade textiles of a specific region have the ability to convey the identity of that specific region. This is a crucial ability to resist globalization and monotony in cultural identity. Appropriately, the fascination of this dissertation is with traditional African handmade textiles and its relevance in interior architecture. The contemporary unbuilt building was selected to demonstrate the value of a collaborative approach between an architect and interior architect prior to construction. The analysis of the architectural proposal shows that the interior architect can effectively recognize the strengths and weaknesses of a building from an interior perspective and enhance and improve these aspects. The aim is also to show that two programmes can function collaborative in one building and that intervention is possible within a building with a fixed programme. The site was selected due to the location and framework it falls within. The location of the site allows for exposure due to the pedestrian demand on the site. Also, the site is advantageously located within close proximity to main transportation nodes. The site falls within the extended Arcadia Arts and Cultural Corridor. The vision for this corridor is a lively and multicultural precinct which hosts a variety of arts and cultural facilities. The vision for these facilities is to portray the zest of local culture, especially to those disembarking the Gautrain. The textile making guild, WARP + WEFT is an important project within this precinct, due to the core concept of the guild to celebrate African textiles. The aim of the guild is to produce contemporary woven textiles which portray the identity of traditional African woven textiles. The vision for WARP + WEFT within the precinct is to exhibit textiles, expose the textile making processes and to create a unique African textile experience for both the public and the users of the guild. The interior intervention will celebrate African textiles by demonstrating how textiles are used to solve and embrace aspects identified through the analysis of the architectural proposal. These aspects include acoustic absorption, solar screening, adding softness, texture and colour to an environment predominantly defined by cold, hard, smooth and monotone surfaces, as well as providing versatile branding elements. The use of textiles in the interior intervention introduces the unique design question of how to design with textiles for a textile related programme, opposed to textiles being used for another programme, such as a theatre or a hotel. It is a matter of “textiles for textiles” instead of “textiles for music” or “textiles for sleeping”. The solution to this unique design problem is to differentiate between spaces which celebrate textiles by acting as a background or blank canvas for the exhibition and production of textiles and spaces which celebrate textiles by becoming textile-like. To create these spatial variations, the exclusive use of textiles is not sufficient. Textiles need to be translated into interior architecture which will be achieved through the following five methods: Translation through metaphor, translation through structure, interpretation of actual textiles, engagement through text and the translation of the unique qualities of textiles. Thus, the aim of the investigation is to celebrate textiles through the application of textiles and through the translation of textiles in interior architecture.Dissertation MInt(Prof)--University of Pretoria, 2012
Architecture
MInt(Prof)
Unrestricted
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Haji, Wahsalfelah Siti Norkhalbi. "Traditional woven textiles : tradition and identity construction in the 'new state' of Brunei Darussalam." University of Western Australia. Anthropology and Sociology Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0013.
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Since its independence in 1984, politicians and nationalists in Brunei Darussalam have appealed to traditions in their efforts to create a national identity based on Brunei Darussalam’s national philosophy, `Malay Islamic Monarchy’. Weaving is one of the traditions related to Brunei traditional culture, thus traditional textile is used to construct national identity. This study focuses on the role played by powerful institutions in the creation of new tradition in order to foster national awareness in the `new state’ of Brunei Darussalam and I examine how traditional textiles are incorporated into the project of nation building. In Bruneian society, traditional woven cloths have multiple roles whose meanings vary according to the situation in which the traditional cloth is utilized. This research explores the significance of traditional textiles in Brunei Darussalam, focusing on the consumption of locally woven textiles in its traditions and the relationships to the expression and construction of identity. Since Islam came to Brunei Darussalam, it has become one of the predominant markers of identity of the Malays. This study analyse the influence of Islam in the production and consumption of traditional textile in Brunei Darussalam. The continuity of the production and consumption of traditional woven textile in Brunei Darussalam is very much dependent on its significant in the traditions of Brunei society as a whole. In order to prove this, this study focuses its investigation upon the production and uses of traditional textiles in the social customs of Malay society in Brunei Darussalam. Traditional woven textiles are employed to construct social identity in the reproduction of distinction. Traditional textiles are also offered to signify privilege and power. I examine how traditional textile is being used to distinguish social status and political prominence, denote offices, and display wealth and prestige.
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Simmons, Kathryn Elizabeth. "Textiles in Rural Bolivia: Where Does the Art of Traditional Textile Making Fit Into Today's World?" University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1418306303.
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Brenya-Baah, Kwaku. "TRADITIONAL DEVELOPMENT AND GLOBAL IMPACT OF ASANTE KENTE AND ADINKRA." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1417632170.
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Salaghor, Laila Mohammed Nour. "The re-invention of traditional weaving in Saudi Arabia." Thesis, Coventry University, 2007. http://curve.coventry.ac.uk/open/items/5a7cf3d3-f931-46db-e429-6eb1d1820c56/1.
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This research seeks to create new woven artefacts by integrating elements of traditional weaving from western Saudi Arabia and different kinds of materials for the warp, thus offering a new dimension to the field of hand weaving in Saudi society, and contributing to its development. For the researcher’s MA study, she was interested in western modern weaving and textiles in terms of its new weave techniques, methods, forms, design and function. But, with the commencement of her PhD study, she thought more about Saudi traditional weaving as a key reference. Her interest developed when she worked as a weaver and teacher of the art. Through work experience, the researcher has observed that the field of hand weaving in Saudi Arabia, particularly the traditional Bedouin approach, is rich in aesthetic values and techniques, but is not widespread. Some effort is required to find ways to develop this kind of weaving and to introduce the new forms, appearance and techniques to Saudi Arabian society. At the same time, this might be considered an invitation to Saudi weavers to join the researcher in reclaiming our past to suit the needs of the present time.
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Twose, Megan Frances, and n/a. "Studies of Phormium tenax fibre prepared in the traditional Maori manner." University of Otago. Department of Clothing and Textile Sciences, 1988. http://adt.otago.ac.nz./public/adt-NZDU20070619.110247.
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Museum textiles provide priceless documentation of the activities of people throughout time. They record human interests and serve as resources for students of many disciplines. In New Zealand there are artefacts made from Phormium tenax which are extremely important in terms of providing a record of early New Zealand life and links to our past as both artistic and cultural symbols: they present an insight into the many faceted nature of early Maori culture. However there are some which are clearly in need of preservative treatment. Others may need care in the future for inevitably they are, or will be, subject to degradation during storage, when on display and during cleaning and refurbishing. Conservators, who embark occasionally on restorative treatments designed to reverse or arrest the symptoms of degradation, have begun to address the causes and future fundamental affects of their procedures. However there have been few scientific studies of the properties of the fibres and, therefore, there is little information to help the conservators in their tasks.
This study has a twofold purpose. The first aim is to provide a short survey of the literature on Phormium and relate it to other lignocellulosic fibres. The emphasis in the survey is to put the conservation problem in context and to point to those technical articles which may be relevant to someone dealing with ancient materials. Secondly there is a practical study of the impact of heating the fibres in the absence and presence of oxygen and in water. These two agencies are ones which are directly relevant to the conservator.
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Stone, Anasee Pengsaa, and n/a. "An Investigation of Isan Textiles at the Village Level in North-Eastern Thailand with Particular Reference to Design and Manufacturing Strategies." University of Canberra. Design, 2009. http://erl.canberra.edu.au./public/adt-AUC20091216.095908.
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This research is set in the context of a collaborative agreement between the Industrial Design
Department, University of Canberra and the Faculty of Applied Art and Design at Ubon
Rajathanee University in the northeast or Isan region of Thailand. In this thesis the textile
production of the region was studied with an objective of evaluating the potential for
product design process to positively influence production outcomes. Traditional textile
production techniques could be lost because these processes are complex and slow, and
the current environment, both physical and operational, is changing rapidly. Product
design and the design process are relevant to the industrial development of Thailand and
village textile production could benefit from structured design and manufacturing
strategies that have a consumer focus and improved production outcomes. From a critical
review of the relevant literature, it was found that village weavers valued the traditions of
their craft and traditional patterns and colours were important in terms of cultural identity and
village social organization. Product design process or more specifically, the Generic Design
Process (GDP) was reviewed and a model developed that adapted the GDP to the prevailing
research environment. The findings led to a program of field research including village
interviews where the major issue of the devaluation of traditional natural material dyeing
techniques was identified. Field experiments tested alternative dyeing techniques which were
evaluated in a survey by village weavers. During the field research care was taken to adapt to
the way in which village weavers lived and worked as the two activities were closely
interrelated. The degree of skill and knowledge residing in the aging women, who constitute
the majority of village weavers, in extensive and profound, and is often described as an
example of local wisdom. The theoretical and experimental work has been related, with
appropriate results and conclusions, to the potential for maintaining traditional natural dyeing
processes albeit with different preservation techniques. The findings from this research
suggests that product design processes are appropriate for village production and that the
tradition of natural material colour dyes will survive, new colours were created and the
potential for new trade in preserved colour dye products. Substantial databases of useful
relevant information have been compiled and recommendations are made for future
research.
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Albehairi, Musaed. "Using the traditional textile Sadu as an element of the Kuwait traditions and representing it as a monumental modern art form." Thesis, University of South Wales, 2010. https://pure.southwales.ac.uk/en/studentthesis/using-the-traditional-textile-sadu-as-an-element-of-the-kuwait-traditions-and-representing-it-as-a-monumental-modern-art-form(ffc18e5a-787d-4097-a951-33a69a733dca).html.
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This is a practice based research, based on a representation of motifs related to Kuwait's traditions and heritage through Sadu textile; the research starts with determining the factors needed by Sadu in order to move to the monumental modern art form. One of these factors is the analysis presented by the artists of the first generation in Kuwait concerning Sadu and what was presented by Sami Mohammed in his "Sadu Project" in the Eighties. From another side, to present what affected Sadu through the globalisation concept and to benefit from the same in order to show Kuwait visual culture, analyse and develop the colour philosophy in order to reach a colour group that represents Sadu modern art. This aspect of the research is bibliographic, along with other aspects, including a critical reflection on practice. The research begins by using Jacques Derrida's "Deconstruction" as a process to dismantle Sadu motifs as ornaments, symbols, colours and subject matter. It is original research as it is based on an interview with Sami Mohammed's, which revealed that, in the Sixties, he was one of the pioneer artists who used modern art as a different area in their art careers, while also building national abstraction in Kuwaiti art. The other interview is with Yahya Swailem, an art teacher and critic in Kuwait since the Sixties, who provided the research with an overview of the history of art in Kuwait. The research aims at attracting the current and young generations to the heritages and traditions of their country by transforming the Sadu textile to a Sadu modern art form in paintings and increasing the art appreciation and their cultural awareness. The research title is also the research aim and the selection of it was based on the existence of words that contributed in refining the twentieth century art as modern art and monumental and Kuwait for determining the research location that is considered the base of the research and linking them with the word "representing" that also shows something new presented by this research. Sadu was selected for this research since it is a major and essential part of the heritage and traditions of Kuwait and since it is a textile, it may be on a two dimension form and for what it witnessed through the art in Kuwait through the first generation artists. Sami Mohammed considered it a start to success in changing its form and making it more modern. The paintings produced in the research display Sadu motifs with a colour philosophy that is different from previous presentations, with a focus on large-scale paintings to gain a new meaning through monumental Sadu art.
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Plessner, Gayle Shapiro. "An Exploration into the Transformational Process of Traditional Hawaiian Quiltmaking." Thesis, Pacifica Graduate Institute, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255954.
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This research explored Jung’s development of the concept of soul and its manifestation in the material world. In particular, this phenomenological study investigated Hillman’s anima mundi, the soul in and of the world, and how individual and community transformation occurred through the making of traditional Hawaiian quilts by hand. Using qualitative organic inquiry, ten participants including the researcher were asked to describe their emotional, psychological, and relational experiences of quiltmaking—thus integrating the handmade art into the very heart of this dissertation. The findings validated the social, healthful, and emotional benefits of quiltmaking by hand, having strong implications for clinical work and the process of individuation. Individuation achieved through the making and completion of one’s quilt was not just the creative journey of an individual soul, but a shared community endeavor that created enduring social bonds serving to perpetuate the tradition of Hawaiian quiltmaking. One of the most significant findings addressed Jung’s belief that soul lives among us in the material world. Further studies might examine individual and co-creative endeavors to compare creative, social, and transformational experiences. Also, further exploration into Jung’s notion of the soul of the object may deepen our understanding of soul and its delivery into the tangible world through the work of our hands.
Keywords: depth psychology, Jungian soul of object, transformation, traditional Hawaiian quiltmaking, creativity, collective experience.
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Sarashima, S. "Intangible cultural heritage in Japan : Bingata, a traditional dyed textile from Okinawa." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1388906/.
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My thesis is an ethnographic investigation of the social impact of Japan’s Intangible Cultural Heritage (ICH) policy, a government scheme that supports practitioners of traditional crafts and performing arts and defines their skills accordingly. This concept of heritage was developed in Japan immediately following the Second World War, when the country, then under the USA’s control, was attempting to establish a social value of ‘tradition’ while also pursuing the economic and social development that has facilitated the nation’s Americanisation. People in contemporary Japan continue to engage in many traditional practices despite drastic social and cultural changes over the last century. Highly skilled artists and craftsmen, recognised as custodians of traditional cultural expressions, are known as ‘Living National Treasures’ and enjoy widespread respect. The Japanese concept of heritage differs significantly from that found in Euro-North American academic discussion, which has been developed chiefly through the orientation to seek the ‘sense of origin’ by preserving tangible heritage such as historic sites and monuments. Since the United Nations Educational, Science, and Cultural Organi[s]ation (UNESCO) established the Convention for Safeguarding Intangible Cultural Heritage in 2004, the idea of ICH has been incorporated into Western heritage studies. In this context, however, ICH has focused mainly sociopolitical impacts on post-colonial countries. Little attempt has been made to understand how people experience ICH in their daily lives and why ‘tradition’ is needed in contemporary society. Japanese ICH comprises established social institutions in the context of a large, highly developed society where Western influence has led to homogenised ways of living. This thesis aims to question the generally held assumptions about ICH being a social norm through which people respect ‘tradition’ and expect it to be safeguarded for its own sake as a counter value of modernity, westernisation and globalisation. To challenge this monolithic assumption towards ICH, an anthropological analysis is essential to considering ICH as a cultural form of living human activity in an ever-changing society, which has come to be shared by people as a result of modernity. To observe a cultural form inventoried as ‘tradition’, the focus is placed on several entities such as the practitioner, the work, the production techniques, the consumer, and the space where the form originates, including the people who inhabit this space and their relationship with others. A key question is ‘what has happened to the relationship between these entities since the inception of the ICH policy in 1950’? To demonstrate the complexity and sophistication of a cultural form identified as ‘tradition’, I provide an example of a traditional textile-dyeing technique, known as Bingata, practised in Okinawa Prefecture. This study explores the transformative social meaning of Bingata through the process of its ‘traditionalisation’ and its impact to contemporary society. My ethnographic research provides examples of the practitioners’ and local people’s past and present relationship with Bingata, and the culture of consumption surrounding the use of Bingata material. Based on the personal narratives, my observations of people’s bodily actions through the Bingata material acquired during my field research, conducted at Bingata workshops, museums and tourist sites in Okinawa, and a kimono market in Tokyo, I will reveal the metamorphic character of Bingata ‘tradition’, realised through the transformation and innovation of technique, materials and form as a result of craftspeople’s experience of social dynamics and feedback from consumers. Through people’s physical and emotional engagement on the material in several different locations, I analysis the social capacity of production and consumption of Bingata as ‘tradition’. From the anthropological analysis of Bingata practice, I present a constructive approach to ICH, viewing it is a social milieu in which people and their actions and emotions are actively related, by establishing the value of ‘tradition’ in a cultural form. I emphasise how the conservation activities implied by the concept of ICH are better understood as an effort to establish a social institution of ‘tradition’, in which people recognise the value of a cultural form by producing and consuming it.
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Young, Leslie Heather. "Inventing health tradition, textiles and maternal obligation in the Kingdom of Tonga /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ42782.pdf.
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Serewiwattana, Orrapavadee. "The tin chok textile and weaving tradition of Mae Chaem, Thailand." Thesis, London Metropolitan University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681017.
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This thesis evaluates the unique social function, history and tradition of tin chok textiles (a weaving technique whereby the yarn is picked out using a porcupine quill), which originate from the Mae Chaem area of Chiangmai province in northern Thailand. It represents the first systematic examination of the culture and tradition of the Mae Chaem hand weavers, one that analyses and contextualises their art and provides a comprehensive digital resource. It examines the critical and analytical context of the tin chok tradition, the economic and social influences which have affected it, and its future sustainability. This project involved several field trips, to harvest oral history interviews with expert tin chok weavers, teachers and academics, who have detailed knowledge of the technique and its history. A comprehensively representative digital catalogue of tin chok textiles from Mae Chaem is presented. A corpus of historical examples was assembled from museums, personal archive collections, and publications and these are compared with contemporary tin chok textiles. An archive collection of examples of weaving was assembled, and the methods, techniques and processes of the weavers were observed closely, to enable a better understanding relative to the analysis of tin chok textiles in Mae Chaem. The techniques, significance and meaning of patterns and motif types are examined in relation to cultural and economic factors present in the wider South East Asian context. Trends, such as transition from production for the domestic, subsistence market to the global tourist industry, are analysed, and the influence of Buddhist theology, changes in Thai culture, and the undermining of weaving by the importation of factory-produced garments are assessed. Ways are sought of reorientating the end use of the woven product, with a view to offering opportunities for the tin chok weavers to create and extend a niche market.
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DeNicola, Alicia Ory Wadley Susan Snow. "Creating borders, maintaining boundaries traditional work and global markets in Bagru's handblock textile industry (India) /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.
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Chidtavong, Lathsamy [Verfasser], and Hans Georg [Akademischer Betreuer] Bock. "Analysis, Modeling and Generation of Traditional Lao Woven Textile / Lathsamy Chidtavong ; Betreuer: Hans Georg Bock." Heidelberg : Universitätsbibliothek Heidelberg, 2016. http://d-nb.info/1180611519/34.
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Tomczyszyn, Pat. "Le costume traditionnel, a study of clothing and textiles in the town of Québec 1635-1760." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0024/MQ51811.pdf.
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Tomczyszyn, Pat. "Le costume traditionnel a study of clothing and textiles in the town of Québec 1635-1760." Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.nlc-bnc.ca/obj/s4/f2/dsk1/tape2/PQDD_0024/MQ51811.pdf.
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Rijkers, Jessica Carolina Cornelia. "Alinea : The beginning of a new train of thought, Implementing (coloured) bioplastic into handwoven textile design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26578.
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Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.
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Juntunen, Roos Lisa. "(kahvi) Break With Tradition." Thesis, Konstfack, Textil, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7231.
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In this project I explore the consequences of inventing traditions and the empowering effects of textile making. By looking at Swedish textile history, Finnish coffee packages, a 91 year old woman and a 31 year old aspiring textile artist I come to the conclusion that trying to control history trough traditions can have dire consequences and I am left wanting a more inclusive approach.
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Uchino, Megumi. "Songket of Palembang : socio-cultural and economic change in a South Sumatran textile tradition." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:6434.
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Dupiech, Cavaleri Danielle. "Analyse d'une tradition textile maya du Yucatan (XXIe siècle) : usages rituels et codes symboliques." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0622.
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Contraintes d'abandonner au XVIe siècle le brochage de motifs chargés de symbolisme pour se consacrer à la réalisation de toiles lisses destinées à payer le tribut aux espagnols, les femmes mayas du Yucatan ont du s'adapter et mettre en place des stratagèmes pour perpétuer leur univers comogonique véhiculé par les textiles. De nos jours, le désintérêt des jeunes générations de brodeuses pour les textiles, la prolifération de motifs floraux stylisés au détriment des traditionnels motifs géométriques et zoomorphes ainsi que l'abandon progressif du port du hipil (vêtement traditionnel) témoignent de la disparition d'un pan entier du contenu culturel inscrit dans les textiles. Les informations obtenues lors des enquêtes menées durant plus de quatre années auprès d'une vingtaine de vieilles brodeuses âgées de 50 à 107 ans dans les villages de Mani, Xaya, Xocén et Xohuayan au Yucatan et les résultats de l'observation de l'usage des textiles à l'occasion des fêtes patronales, de rites agricaoles, de l'hanal pixan ont permis d'établir la continuité de la relation mythique liant la femme, le textile et lma fertilité depuis les temps les plus reculés en Mésoamérique. L'analyse de cette tradition textile contemporaine a été facilitée par une approche pluridisciplianire faisant appel à l'archéologie, l'histoire, l'ethno-histoire, l'ethnologie et la linguistique pour démontrer comment les textiles du XXIe siècle participent toujours des rituels ponctuant la vie religieuse des mayas et pourquoi et comment les motifs que les femmes brodent sur leurs hipiles our sur les servilletas et manteles (textiles à usage cérémoniel) ont encore valeur de symboles pour les vieilles brodeuses mayas.
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Díaz, Montalván Sarai Abigail. "Consulting report - Peruvian Traditions SAC." Master's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15221.
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Peruvian Traditions is a small family business dedicated to the manufacture and
export of alpaca garments. Currently, it has two brands White Label (Peruvian Traditions
itself) and Norgäte and is aiming to expand its export process to Europe. Within the process
of collecting information and analyzing the company, it was detected that the problem was
the lack of differentiation between one brand and another which leads them to be "stuck in
the middle". As a result, solutions were proposed for the problem determining that offering
new product line called Alpaca Basics based on pre-existing garments within the Norgäte
collection and on which it has been detected quite welcome, would be the best. The
framework for this product line is the lean start-up methodology that is characterized by the
formulation of a hypothesis and a testing process under continuous customer feedback that
allows reaching a desired market-fit.
Based on a previous analysis based on the segmentation, targeting and positioning
(STP) the Netherlands was identified as target market. For the success of the product line, a
4P marketing campaign is required: product, place, price and promotion, which highlights the
use and improvement of the current Peruvian Traditions website and a Google Ads campaign.
To measure the results, three indicators will be used: number of visits through the web,
conversion ratio and sales ratio. Subsequently, a scenario analysis is carried out taking into
account three perspectives: negative, neutral and positive. Taking the neutral perspective as a
reference, an increase in the number of visits is identified, from 1,460 to 4,380 visits per year.
Which could generate an increase in the number of customers from 13 to 63.Peruvian Traditions es una pequeña empresa familiar dedicada a la fabricación y exportación de prendas de alpaca. En la actualidad cuenta con dos marcas White Label (Peruvian Traditions) y Norgäte y se encuentra en la mira de expandir su proceso de exportación a Europa. Dentro del proceso de recopilación de información y análisis de la empresa se detectó que el problema era la falta de diferenciación entre una marca y otra lo cual los lleva a estar "stuck in the middle". A raíz de ello, se plantearon soluciones para la problemática, de ahí se determinó que la mejor solución sería lanzar una nueva línea de producto llamada Alpaca Basics basada en prendas preexistentes dentro de la colección de Norgäte. El marco para esta línea de producto es la metodología lean start-up que se caracteriza por la formulación de una hipótesis y un proceso de testeo bajo una continua retroalimentación del cliente que permite llegar a un anhelado market-fit. En base a un previo análisis, basado en la segmentación, focalización y posicionamiento (STP) se identificó que a Países Bajos como mercado objetivo. Para el éxito de la línea de producto se requiere de una campaña de marketing basada en las 4P: producto, plaza, precio y promoción, en donde destaca el uso y mejora de la actual web de Peruvian Traditions y una campaña de Google Ads que la respalda. Para medir los resultados se utilizaron tres indicadores: número de visitas a través de la web, ratio de conversión y ratio de ventas. Posteriormente se realiza un análisis de escenarios tomando en cuenta tres perspectivas: negativa, neutral y positiva. Tomando como referencia la perspectiva neutral, se identifica un incremento del número de visitas, pasando de 1,460 a 4,380 visitas por año.
Tesis
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Chen, Wan-Lee. "Old medium, new design : in search of alternative aesthetics of Taiwanese aboriginal woven textiles in theatrical costume designs." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7961.
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The main purpose of this practice-led research is to explore the relevance of present day Taiwanese aboriginal weavers’ work to contemporary society and how it might be integrated into today’s production processes, and used on stage as well as in exhibition. My research focuses on my costume design work for two theatrical productions, Africussion and Romeo and Juliet, for which the costumes were made with traditional Taiwanese aboriginal woven textiles, and is based on the assumption that the process of costume design affords a space to explore other aesthetic possibilities for aboriginal woven textiles, and that the theatre provides a context in which the conventional conceptions of Taiwanese aboriginal textile design can be challenged, broken apart and renewed. This research deals with both the theoretical and the practical considerations that apply to aboriginal weaving, and examines the intellectual traditions of the philosophy of art and aesthetics to be found in its theory and application. My thesis challenges the notion upheld by many of today’s aboriginal weavers that their ‘traditions’ are fixed and unchangeable, and argues for the importance of individual creativity if modern, contemporary needs and tastes in textiles are to be met by materials woven in the aboriginal way. My practice-led research is grounded on the techniques of aboriginal backstrap loom and weaving and basket weaving, which were learned from aboriginal weavers in a 20-month tribal fieldwork. This project approaches aboriginal woven textiles as artistic objects in the context of theatre productions and performances instead of as mere commercial entities. It also argues that theatrical costume design is much more than just the making of simple costumes that complement performances.
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Ahmed, Monisha. ""We are warp and weft" - nomadic pastoralism and the tradition of weaving in Rupshu (Eastern Ladakh)." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:0153c1e6-8bc1-4c95-aa7c-8f586a45772d.
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This thesis, based on twelve months of fieldwork and archival research undertaken in Ladakh, explores the place of wool and weaving in the life of Rupshu. It attempts to trace the nexus between livestock, fibres, textiles, social and symbolic structures in Rupshu in order to understand the multitude of contexts within which wool-oriented activities exist. The craft of weaving was bestowed upon Rupshu by the gods, and thus all acts related to it have a close connection to the sublime. Rupshu lies in the easternmost part of Ladakh in North India, in a Restricted Areas Zone, as is accessible only to Indian citizens. Hence, extensive fieldwork has not been carried out in this area. Further, though there is a little documentation on the craft of weaving in Ladakh, none exists on the nomadic tradition of weaving. The first two chapters introduce the region of Rupshu and explore the historical context. They include a discussion of the origin and development of weaving and textiles in the area, and of the old trade routes in fibres. The next two chapters examine the connections between livestock, the source of fibres in Rupshu, and the Ladakh pantheon. The relationship between the two is reflected in the manner in which livestock are revered and treated in Rupshu. Further, this affinity is widely expressed in Rupshu, and one such occasion is the harvesting of the fibres. The next four chapters look specifically at the craft of weaving, and local representations of the tradition. Using examples of particular pieces woven in Rupshu, I examine the gender, spatial, and hierarchical relations that they express and perpetuate. Not all the fibres harvested in Rupshu are used there, and the final chapter examines their distribution through trade. While woven articles are not traded, specific containers are woven for the transport of fibres and their characteristics are looked at here. The concluding remarks include a discussion of the future of wool and weaving activities in Rupshu, and address the dangers posed by re-settlement schemes, and a shortage of pasture and over-grazing. These trends would eventually lead to a decrease in the number of livestock, and cause the people of Rupshu to abandon their tradition of nomadic pastoralism.
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Chartsiri, Chamaikarn Pai. "Sitting with The Fisherman." Thesis, Konstfack, Textil, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5181.
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The scene of a local motorcycle taxi driver hand-knitting a small fishing net at his stand next to a canal will never fade away from my childhood memory. It was the first time I saw the life behind the fishing net. Throughout my textile practice, I’ve reconsidered the fishing net with curiosity and nostalgia. Behind its mesh and diamond shaped structure, I see craftsmanship and the story of its creation. I would like to preserve and encourage these precious values in the net with my Master project Sitting with The Fisherman. The fishing net is reinterpreted to everyday life with a trace of stories within it. The net becomes a tool to gather people together like the fishing net does in the fisherman village. This project will be a pilot idea to others in different contexts, to preserve their precious traditional craftsmanship, to keep it alive by transforming the skill and technique to a new interpretation.
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Pettersson, Maria. "Var finns träjuntan? : en undersökning om slöjdande i trä och textil." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3276.
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Med frågan Var finns träjuntan som ingång och övergripande ramfråga behandlar den här undersökningen frågeställningarna Hur ser relationer till tradition ut hos människor som träffas i grupp för att slöjda i materialen trä och textil och Hur skapas kunskaper i slöjdgrupper som arbetar i materialen trä och/eller textil? Undersökningen har syftat till att ta reda på om materialet trä har samma funktion som det textila materialet i att förena människor i motsvarigheter till vad vi kallar syjunta. Undersökningen har därutöver behandlat frågor kring varför människor väljer att träffas på ett sådant sätt, hur relationer till materialet ser ut och vad tradition spelar för roll för denna form av verksamhet. Genom en kort historisk tillbakablick har undersökningen försökt hitta sy- och träjuntornas historiska ursprung. Etnografisk metod har använts för datainsamling, vilket i praktiken har inneburit deltagande observationer, samtal och intervjuer med deltagare i sex olika slöjdgrupper i Mellansverige. I en av dessa, en syjunta, har en träworkshop genomförts med syfte att närmare utforska deltagarnas relationer till materialen trä och textil. Den pragmatiska kunskapsteorin med handlingen i fokus har använts för att se närmare på de kunskapsprocesser som skapas i dessa grupper. Slöjdgruppernas relation till materialen och till slöjdprocessen har speglats genom den amerikanske sociologen Richard Sennetts teorier om hantverk. Resultatet visar att de slöjdgrupper som träffas i dag följer en tradition, en syjuntetradition. Historiskt har framför allt det textila materialet samlat människor, både män och kvinnor, i vad vi idag kallar syjuntor men som även gått under namn som kafferep, bindstugor eller rockstugor. Den praktiska kunskapsprocessen i slöjdgruppernas verksamhet förmedlas i korthet genom att se och göra. Den består av problemlösning i kombination med vana, rutin eller rytm. Av teori och praktik. Rytmen skapar samtidigt utrymme för den sociala samvaro som kännetecknar syjuntan, av samtalet som böljar fram och tillbaka mellan här och nu och världen utanför.BI / Design
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Schreiber, Raphael, and Moisin Monica Bota. "Rebranding “Made in India” through Cultural Sustainability : Exploring and Expanding Indian Perspectives." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-25395.
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This exploratory study is a first attempt to translate the Indian cultural context from a socio-cultural, and legal perspective by identifying the values attributed to Indian textile craftsmanship by Indian textile and fashion stakeholders, and how their perspective is influenced by the global recognition and perception of Indian textile crafts and connotation of “Made in India”. At the same time the study investigates the meaning of “sustainability” in the Indian cultural context, in relation to textile craftsmanship, and how this relates to the Western concept of “sustainability”. Through field research in conjunction with a series of in-depth unstructured interviews, this study reveals that Cultural Sustainability is the dominating narrative in the Indian cultural context due to the prevalence of culturally embedded sustainability practices and the role of textile craftsmanship in sustaining livelihood, being a unique exercise of positioning Indian textile craftsmanship within a framework of cultural heritage as a valuable source of knowledge for sustainable practices in the fashion and textile industry. Unique about this study are the India-centric approach combined with the ethnicity of the subjects interviewed - who are, without exception, Indian nationals, whose work, voice and reputation are shaping India's contemporary textile craft -sustainability narrative (being referred to as the “Indian textiles and fashion elite”) and the framing of traditional craftsmanship from a legal perspective, introducing the notion of legal protection of traditional textile knowledge and traditional cultural expressions.
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Müller, Michèle Pascale. "Coûts et avantages comparatifs du textile non tissé à usage unique par rapport au textile traditionnel en coton : études menées au bloc opératoire du C.H.R. de Haguenau." Université Louis Pasteur (Strasbourg) (1971-2008), 1990. http://www.theses.fr/1990STR1M104.
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Bhattacharjee, Samita. "Poly'nAsia a fashionable fusion of Tongan & Indian textile traditions : this exegesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design (Fashion Design ), February 2005." Full thesis. Abstract, 2005.
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Clarke, Duncan Peter. "Aso Oke : the evolving tradition of hand woven textile design among the Yoruba of south western Nigeria." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286484.
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Ronald, Emma. "Patterns of identity : hand block printed and resist-dyed textiles of rural Rajasthan." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/8691.
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This thesis sets out to investigate the changing social significance of the hand-block printed and resist-dyed cottons of Rajasthan. Once a vital part of the region’s everyday rural textile and dress traditions, communicating information about its wearers and demonstrating the craftsmanship of its makers, today block printed textiles are produced primarily for export and tourist markets. In the space of just a few decades the growing effects of globalisation have wrought irrevocable change upon this traditional craft. Under the pressures of new market forces, modern hand block printed textiles bear little resemblance to their traditional counterparts. Drawing on an ethnographic perspective in general, and an ethnomethodological perspective in particular, the main objective of this thesis is to develop a deeper understanding of traditional hand block printed and resist-dyed textiles – with particular focus on the modernisation of traditional forms of hand block printing in Rajasthan, and the various strategies and experiences which the craftspeople have undertaken to deal with the changes to the market for their products. Using the recent history of block printed cloth production in Rajasthan, as told by local artisans, it explores the manner in which such phenomena as modernisation and globalisation are embodied by shifts in production technology, design aesthetics, and market forces. In order to explore the rural roots and chart the dramatic recent modernisation of the craft this thesis identifies and documents the range of textiles traditionally made by the region’s hereditary communities of cloth printers and dyers, and investigates their role in the projection of identity, exploring the changing communicative function of these textiles, notably with the rise of synthetic fabrics, among the rural communities of Rajasthan. In doing so, this thesis investigates how the consumption of hand block printed textiles has changed over the past forty years and considers the impact of the growth of export and tourism on traditions of cloth printing in the region. It is a socially situated study, based on extensive firsthand fieldwork with the Chhipa community of hereditary cloth printers, making use of ethnography, photography, and personal experience of textile dyeing, printing and design. By developing methodologies based on the detailed documentation of the technologies, materials and processes involved in hand block printing this thesis seeks to update and expand upon the existing literature on the craft by providing and analysing contemporary accounts of family traditions and modern developments in use by current generations of artisans. In doing so this thesis also contributes to current discourse on the preservation of craft knowledge as a form of intangible cultural heritage. The study is primarily located within the field of Indian textile and dress studies. It contributes to contemporary ethnographies of textile crafts through the detailed analysis of print and dye technologies, and, by also considering the meanings and values of block printed cloth as clothing, adds to the literature on the social role of textiles and dress with a regionally-specific focus on the role of pattern and colour. By focussing on the communicative functions of pattern and cloth, it also enhances cross-disciplinary attentions to regional identities and intangible cultural heritage. Finally it engages with the very local processes of globalisation and the contemporary values of handcrafted cloth.
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Songur, Yasemin. "Waffle Contrasts : Reinterpreting the Traditional Waffle Weave through Technical, Material and Colour Research." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23801.
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Asking the question: How can the waffle weave be reinterpreted through material, technical and colour research, the investigation of this MA thesis revolves around the weaving technique with the aim of presenting a collection of various woven textiles, where the waffle has been used in different ways. The weave, with its three- dimensional structure creates an interesting canvas to experiment upon as its structure creates both texture as well as depth to the textile. Furthermore, the research is conducted through a systematic exploration of the different aspects mentioned above, where theory and practise go hand in hand. Moreover, the practical experiments start as sketches on the computerised ARM looms and then are scaled up and revised on the industrial jacquard looms. The results showcase a variety of waffle weaves; from flat to three- dimensional, with various colour and surface effects as well as different compositions and overall forms. So, through this research, the degree project aims to explore and experiment the potential and possibilities of the waffle weave
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Silva, Luciane da 1977. "Trilhas e tramas : percursos insuspeitos dos tecidos industrializados do continente africano : a experiencia da Africa Oriental." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279145.
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Orientador: Omar Ribeiro ThomazDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Partindo da premissa de que o uso dos tecidos constitui-se em forma complexa de comunicação sócio cultural, esta dissertação intenta, por meio da cultura material, refletida no tema tecidos industrializados, levantar evidências teóricas que nos levem a perceber de que maneira os panos podem revelar processos que implicam na construção de identidades das populações africanas. O entendimento dos simbolismos das formas materiais é fundamental para a interpretação das culturas. A percepção do efeito do mundo material nas interações sociais nos leva a captar evidências e entrelinhas de relações e criações, trazendo à tona formas de pertencimento desencadeadas pelos usos específicos dos objetos. Na intersecção da África com contextos transnacionais os tecidos atuam como articuladores das percepções de gênero, geração, etnicidade, filiação política e nacional. A realidade do uso dos têxteis em África é algo peculiar. No vestuário especificamente, o pano que cobre o corpo é também palavra, portador de mensagens sociais. Ao contextualizarmos os tecidos às organizações sociais específicas e compreendê-los dentro de processos de interação, percebemos formas inusitadas de diálogos e embates com as realidades sócio culturais , provando que a criatividade e a mudança são partes constitutivas da tradição e que a cultura material é capaz de proporcionar a criação e a re-criação de papéis sociais.
Abstract: Taking part from the premise that the use of textiles constitutes a complex means of sociocultural communication, this dissertation intends, by means of the cultural material reflected in the theme of industrialized textiles, to bring to light theoretical evidence that helps us understand the way in which these cloths can reveal the processes implicated in the construction of identity of African populations. Understanding of the symbolism of the material forms is fundamental for the interpretation of culture. The perception of the effect of the material world on social interactions pushes us to collect both evident and subtle aspects of relations and creations bringing up ways of belonging unlocked by the specific uses of the objects. In the intersection of Africa and transnational contexts, textiles act as articulators of perceptions of gender, generation, ethnicity and national and political affiliation. The reality of the use of textiles in Africa is something peculiar. Specifically in terms of attire, the cloth that covers the body is also word, carrier of social messages. In contextualizing textiles within specific social organizations and understanding them as part of processes of interaction, we perceive surprising forms of dialogue and clashes with sociocultural realities, demonstrating that creativity and change are constitutive parts of tradition, and that material culture is capable of affording the creation and recreation of social roles.
Mestrado
Mestre em Antropologia Social
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Almeida, Ricardo Brito. "As diferenças do supply chain de moda entre as coleções tradicionais e o fast fashion: um estudo dos desafios e ações empreendidas pelas empresas têxteis que atuam no início da cadeia produtiva de moda." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-14032016-234858/.
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O estudo consiste em analisar as diferenças do supply chain de moda entre as coleções tradicionais e o fast fashion, identificando os desafios e ações empreendidas pelas empresas têxteis que atuam no início da cadeia produtiva de moda. Tomando como base a literatura sobre as gestões da cadeia produtiva de moda e as mudanças ocorridas no mercado, identificou-se a contradição no tempo de aprovisionamento no que diz respeito às etapas de produção entre a moda tradicional e o fast fashion, termo em inglês, traduzido como moda rápida. As análises e comparações entre as gestões da cadeia produtiva de moda compreendem como esses dois sistemas atuam no mercado. Por um lado, existem as empresas de moda programada tradicional que pelo conceito e o tempo utilizado para o desenvolvimento de suas coleções funcionam como uma forma de imposição do consumo de seus produtos, já o modelo fast fashion pode ser interpretado como uma resposta do mercado consumidor. Com isso, a necessidade de diminuir o time to market para reduzir o risco exige encontrar soluções produtivas adequadas. A partir de uma revisão de literatura e de uma pesquisa exploratória, foi possível identificar como o setor têxtil, que atua no início da cadeia produtiva de moda, corresponde às diferenças de supply chain entre as coleções tradicionais e o fast fashionThis study consists on analyzing the supply chain differences between the traditional collections and the fast fashion, identifying the challenges and the undertaken actions by textile companies that act in the beginning of fashion productive chain. Taking as a base the literature on fashion productive chain management and the market changes, the contradiction on provision time was identified about the production levels between the traditional fashion and the fast fashion. The analysis and comparisons between fashion productive chain management comprehend on how theses both methods act on market. On the one hand there are the scheduled traditional fashion companies that through conception and the used time to develop their collection, it works as imposition consumption for their products, whereas the fast fashion way can be seen as the customer reply. Therewith, there is a need to reduce the time to market to decrease the risk new productive solutions must be found. From a literature review and a deep research, it was possible to identify how the textile sector, which operates at the beginning of the production chain fashion, corresponds to the supply chain differences between traditional collections and the fast fashion
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Li, Yanfei. "A fusion of traditional African and Chinese craft design methods and techniques to inform a range of interior children’s products." Thesis, Cape Peninsula University of Technology, 2015. http://hdl.handle.net/20.500.11838/1332.
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Thesis submitted in partial fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of TechnologyIn today’s world of mass production, many traditional craft expressions are being forgotten and techniques are getting lost. Thereby, this research proposes to deal with selected traditional African textile design and Chinese folk (fabric) craftwork technique, in order to create unique children’s products. As a designer of Chinese origin studying in South Africa, I have been drawn to Africa’s traditional material culture. I have designed some interior products for children, which combined two different traditional cultures; African and Chinese. My research focuses on the importance of cultural specificity amidst globalisation trends that affect design, and how the development of a range of design products based on the fusion of the two different traditional craft techniques can effectively be marketed locally and in China. The research methodology is exploratory; field work was conducted in China and South Africa and the theoretical component dovetails with the practicum to inform an iterative process of design, development, and prototype production.
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DeLong, Ellen Elizabeth. "Advertising Domesticity: A Content Analysis of Traditional Messages in Seventeen Magazine, 1946-1948." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1216912746.
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Uthman, Ara, and Ludwig Jernberg. "Inköpsmetoders roll inom B2B-relationer : En kvalitativ studie om inköpsmetoders påverkan på B2B-relationer inom mode- och textil detaljhandel." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23468.
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Syfte: Syftet med den här uppsatsen är att undersöka i vilken utsträckning svenskamodedetaljister använder sig av digitala inköpsmetoder och hur de förhåller sig gentemot traditionella inköpsmetoder. Även vad detaljister ser för fördelar och nackdelar med olika inköpsmetoder, vilka inköpsmetoder de föredrar samt hur dessa påverkar relationen mellandetaljist och leverantör. Studien syftar till att utveckla kunskapen kring B2B-relationer inom inköp i detaljhandeln och underlätta framtida val av inköpsmetoder i relation till hur de påverkar B2B-relationer. Metod: Genom en kvalitativ och deduktiv ansats har empiriskt data samlats in genom semistrukturerade intervjuer i samverkan med åtta svenska modedetaljister. Detta för att på så vis få reda på deras åsikter och resonemang kring leverantörsrelationer och olika inköpsmetoder. Teoretiskt perspektiv: Den tidigare forskningen är baserat på forskning inom B2B-relationersamt traditionella- och digitala inköpsmetoder. Det teoretiska perspektivet består av fyrafaktorer som används för att utvärdera affärsrelationer. Dessa fyra faktorer är förtroende, tillfredställelse, engagemang och lojalitet. Empirin analyserades med den tidigare forskningen genom en tematisk analys baserad på de fyra tidigare nämnda faktorerna. Resultat och slutsatser: Resultatet visar att de traditionella inköpsmetoderna föredras eftersom de låter detaljisten göra en egen utvärdering av produkten och skapar förutsättningartill att bygga goda och långvariga relationer mellan detaljist och leverantör. De digitala inköpsmetoderna saknar möjligheten till att bygga relationer då det fysiska mötet försvinner, däremot är fördelen att inköpen kan ske när som helst, var som helst ifrån. Traditionella- och digitala inköpsmetoder ska alltså åtskiljas men nyttjas kompletterande ihop.Purpose: The purpose of this paper is to investigate the extent to which Swedish fashion retailers use digital procurement methods and how they relate to traditional procurement methods. Also which advantages and disadvantages the retailers see within different procurement methods, what procurement methods they prefer and how these affect the relationship between retailer and supplier. The study aims to develop the knowledge of B2Brelationships in retail procurement and facilitate future choices of procurement methods in relation to how they affect B2B relationships. Method: Through a qualitative and deductive approach, empirical data has been collected through semi-structured interviews in collaboration with eight Swedish fashion retailers. With the purpose to find out their views and arguments about supplier relationships and different procurement methods. Theoretical perspective: The scientific research is based on research in B2B relations as well as traditional and digital procurement methods. The theoretical perspective consists of four factors that are used to evaluate business relationships. These four factors are trust, satisfaction, commitment and loyalty. The empirical data was analysed with the scientific research through a thematic analysis based on the four aforementioned factors. Results and conclusions: The result shows that the traditional procurement methods are preferred because they allow the retailer to make their own evaluation of the product and create the conditions for building good and long-lasting relationships between the retailer and the supplier. Digital procurement methods lack the opportunity to build relationships as the physical interaction disappears, however, the advantage is that digital procurements are available anywhere, at any time. Thus, traditional and digital procurement methods must be separated and complement each other.
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Bamonte, Joedy Luciana Barros Marins. "Legado\' - gestações da arte contemporânea. Leituras de imagens e contextualizações do feminino na cultura e na criação plástica." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/27/27149/tde-07112017-153142/.
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Este trabalho enfatiza o universo feminino em seu desenvolvimento. Seu título, \"Legado\" refere-se a uma obra plástica, que ao ser composta juntamente à tese, passou a ser vista como objeto de estudo da pesquisa, em uma investigação sobre a influência e a utilização de elementos da produção têxtil artesanal nas artes visuais, no final do século XX e início do XXI, por alguns artistas brasileiros. Dentre as leituras que foram desenvolvidas durante a investigação, a primeira volta-se para a Semiótica Planar, de Greimas, priorizando a estrutura física de \"Legado\" enquanto obra que insere o trabalho têxtil artesanal como produto da pesquisa. Trabalha a intertextualidade de maneira que aborde a contextualização de trabalhos plásticos, buscando suas origens culturais e simbólicas. O enfoque é dado para uma projeção do universo feminino nos lares, na tradição oral, no artesanato brasileiro,os quais também estão projetados sobre a produção das artes visuais no Brasil. O artesanal, alterando sua função utilitária para a estética, em uma reflexão do fazer humano. Para uma compreensão de \"Legado\", é proposto um diálogo com outras obras da mesma artista e pesquisadora, no qual elementos compositivos são observados e estudados no seu processo de criação. Integrando todo o trabalho, um \"jogo\" de figuras é proposto, de maneira a sugerir a própria estrutura da colcha de retalhos tramada com os conteúdos propostos no texto. A utilização do fio, da costura, do bordado, da trama, é apresentada como algo cíclico, que responde à essência humana e feminina de expressar-se no artesanal, remetendo a necessidades primordiais de fertilidade, feminilidade e propagação, seja no século XXI ou XV.This study emphasizes forms of expression and values concerning the feminine universe. Its title, \"Legado\" (Legacy) refers to the plastic work which was composed along with this thesis and, for this reason, can be seen as the central object of this research - an investigation about the influence and use of elements of textile craft into the visual arts, by Brazilian artists, at the end of the 20th and the beginning of the 21st centuries. The first part is anchored in the Plan Semiotics, developed by A.J. Greimas, as a theoretical basis for the analysis of the physical structure of \"Legado\", a work which inserts textile craft as the product of this research. The second part focuses intertextuality, under the point of view of the plastic works contexts, in search of their cultural and symbolic origins. A projection of the feminine universe in the domestic environments, in the oral traditions, in the Brazilian craftworks, all of them also projected onto the visual arts, is approached. The transformation of the utilitarian function of craftwork into an aesthetic function is developed, as a reflection on the human actions. In the third part, with the aim of assuring a better comprehension of \"Legado\", a dialogue with other works produced by its author and researcher is proposed. This way, composing elements are observed and studied in their process of creation. In conclusion of this study as a whole, a \"game\" of images is proposed, thus suggesting the particular patchwork\'s structure, plotted in accordance with the contents previously presented in the text. The use of needle and thread, of sewing or embroidering, is seen as something cyclical, which corresponds to the human female essence of expressing herself through handmade craftworks, reminding primordial necessities of fertility and propagation, either in the 21st, in the 15th or in any other century.
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Malcher, Kay. "Ikonische Prägnanz von Schrift und die Prägung der Überlieferung: Beobachtungen zum editorischen Textverständnis anlässlich der Neuausgaben von ›Rosengarten‹ und ›Wunderer‹ in den ›Texten und Studien zur mittelhochdeutschen Heldenepik‹ (TSMH)." De Gruyter, 2018. https://tud.qucosa.de/id/qucosa%3A38467.
Full textAbstract:
Editing Middle High German texts today is led much more by the ventilation of practical necessities than by theoretical consideration. Especially lacking discussions of a basic concept of ›text‹ raises the risk of developing blind spots. The article will try to identify these blind spots as places where the traditional strategy of editing texts on the basis of the faulty-replication model persists. This will be illustrated by new editions of the ›Wunderer‹ and the ›Rosengarten‹. Furthermore, the article evolves a semiotic model of the philological praxis of editing Middle High German heroic epics.Die Redaktion mittelhochdeutscher Texte wird heute viel mehr von der Lüftung praktischer Notwendigkeiten als von theoretischen Überlegungen geleitet. Gerade die fehlende Diskussion über einen grundlegenden Begriff von 'Text' birgt die Gefahr, dass sich blinde Flecken entwickeln. Der Artikel versucht, diese blinden Flecken als Orte zu identifizieren, an denen die traditionelle Strategie der Textredaktion auf der Grundlage des Fehlerreproduktionsmodells fortbesteht. Dies wird durch Neuauflagen des 'Wunderers' und des 'Rosengartens' illustriert. Darüber hinaus entwickelt der Artikel ein semiotisches Modell der philologischen Praxis der Edition mittelhochdeutscher Heldenepen.
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Hua, Ho Chao, and 何兆華. "DESIGN AND SYMBOLISM OF THE DRAGON MOTIF IN CHINESE TRADITIONAL TEXTILES AND CLOTHING: AN INITIAL INVESTIGATIONS." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/50616413074572489916.
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Tsai-YangYen and 顏才洋. "A Research of the Strategy Innovation and Organization Transformation of Traditional Textiles in Dihua Street -A Case Study of Company M." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rrwvd5.
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Chen, Fu-Chuan, and 陳富泉. "Industrial Transformation Opportunity of Traditional Textile Industry: A Case Study of Hermin Textile." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/udvm2g.
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碩士國立臺灣大學
工業工程學研究所
103
An industry has a growing and a recession, even a high-tech industry. Due to the environmental changes and the external factors, a high-tech industry may be transformed into a traditional industry. Thus, when enterprises are facing rapid changes in an external competitive situation, we need to create new business opportunities and strategies immediately. For example, Taiwan''s textile industry which is a labor-intensive industry has a great labor-dependence on external markets. Also, it is one of the important traditional industries that Taiwanese government aims to upgrade. However, the prospects of textile industry markets remain uncertain recently, so Taiwan''s textile industry is still facing challenges. To improve the proposed situation, we analyze the business strategies and potential difficulties of a textile company from the viewpoint of operating and planning. The purpose of this study is (1) to examine the textile industry development and its associated business models; (2) to explore the business opportunities and the obstacles which Taiwan''s company may be faced with. Taiwan H Textile Company is used to illustrate the proposed models as a case company. We interview the executives of Taiwan H Textile Company as a case data, observing the operating strategies and transformation strategies of them. Case study method is utilized to analyze what the business opportunities and the obstacles which Taiwan''s company may be faced with in the phases of transformation and upgrading. Also, we apply SWOT analysis to investigate what the potential operating problems of textile enterprises and how to overcome the existing bottlenecks and difficulties of the case company. The case results can advise the textile enterprises how to react immediately when they are facing the phases of transformation and upgrading.
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Hvey, Lin Chian, and 林千惠. "Modern textile printing design inspired by Taiwan Traditional Architecture." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/89058822396928499746.
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碩士輔仁大學
織品服裝學系
83
Since Taiwan's integration into China in the 17th Century; It has gone through land development, settling of immigrants from China and progress being made for more than three hundred years. During this period of time Taiwan adapted the custom, life style and culture of the southen coastal proviinces of China; later, since the opening of treaty ports around the Island to the western world, gradually influence of western culture penetreeated the culture of Taiwan. Presently, Taiwan has de- monstrated to the world of being democratic,modernized, with great economical achievements and becoming highly international. Meantime, while enjoying the fruits of fast progress, during the process the elimination of it's own culture also cause great pain. The main subject of this research and collection is the motifs of traditional Taiwanese architecture. By using the sim- plicity of the stripe proportion, the regularity of the geometric patterns, the natural elements of the colors, texture from wea- thering and ageing, sending out the message of nostalgia. With flat plane textiles, by spoil or retrench the original structure by reinforce of retract original structure, by com- bining two different materials using chemical or physical treat- ments, creating a new texture. Partial treatment by the spoil or retract methods, creating three dimensional printing design effect textile. Transforming the beauty of color techniques, pattern variations, rich textures of traditional architecture patterns into textile designs.Gathering essence of the forebears' wisdom, revitalizing with new energy and modern spirits, presents new life of current age. Opening up the door of inheritance and finding roots of traditional culture for the modern textile design.
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陳麗娟. "The Study of Innovation Strategy on Traditional Textile Industry." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/en24tq.
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碩士國立交通大學
管理學院管理科學學程
106
Most Taiwan's textile garment and apparel industries are small and medium-sized enterprises, and are the end-product industries in the textile industry. And they are also the highest level of processing and value added in the textile industry. However, with the rise in oil prices, the upstream raw material costs have been rising, coupled with the lower entry barriers and higher competition for the downstream garment industry. The domino effect on the industry supply chain faced with the environmental challenge of a precipitous and global competition, the reduction of product profits and the decline in competitiveness... the downstream garment industry must rethink its responds. At present, there are still many textile and garment manufacturers actively pursuing operational innovation, adjusting product lines and globalization of production and sales, and relying on the close vertical integration model of the upper, middle, and lower reaches of the industry to successfully flip their traditional model and drive their own corporate transformation, with upgrade to establish autonomous technology and to expand niche product differentiation. This study will foucs on traditional textile garment manufacturers as research objects to explore the key innovation tactics employed by garment manufacturers, which will have a positive impact on future operating income. A total of 225 questionnaires were collected in this study, of which the respondents need to be familiar with the various innovation strategy variables of the study in the company's operations. Therefore, the questionnaires were sent to managers who were locked at the director's level or above, and then the data from the questionnaire applied factors, analysis, reliability analysis, and regression analysis to verify the hypothesis established in this study. The innovative business model and key success factors proposed in this study were obtained through analysis of literature and interviews with the heads of textile and garment giants. They are shown through quantitative and empirical analysis, and the proposed model is therefore credible degree. It is recommended that textile and garment manufacturers conduct in-depth analysis and understanding of the key success factors of the four major innovation aspects of the study in order to increase the probability of successful transformation.
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Richardson, Natalie Lila. "Bolivian Andean textiles, commercialization and modernity." 2013. http://hdl.handle.net/2152/22187.
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In research, we frequently position “modernity” against “tradition” to explain cultural changes within the indigenous realm. Such is the case of Andean textile studies, where commercialization and modernity are frequently attributed to the decline in
Andean communities’ production and donning of hand-woven textiles. By doing this, we distance ourselves from the underlying issues causing these
changes: poverty, discrimination, ethnic social stratification, etc. Also, by positioning “modernity” outside and against the indigenous realm, we contribute to the notion that modernity belongs to the western world alone and can only be achieved by Western
influence. In doing so, we confine Andean textiles to a static notion of identity and ignore and antagonize the creative strategies that weavers’ use, moving outside of this notion.
My work questions the “tradition” versus “modernity” binary by analyzing its history and first appearance in Bolivian Andean textile scholarship, and by analyzing
changes within Andean textiles between the Inca and Colonial periods. My study also sheds light on the workings of internal colonialism within Andean textiles in the Bolivian
regions of Jalq’a and Tarabuco.text
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Guo, Shiau-Ling, and 郭曉玲. "Strategic Implementation of Taiwanese Traditional Textile Industry: A Case Study." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/74164447292414131729.
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碩士國立臺灣大學
國際企業學研究所
100
Once textile industry brought huge foreign exchange earning to Taiwanese though, it is entitled “Sunset Industry” in Taiwan recently. On the other hand, with the improvement of income and living standard and the prosperity of sport trend, the demand for sport and leisure apparel becomes stronger among athletes and general consumers. In light of radical transformation in macro environment, consumption style, and policy and regulations, the study would like to explore and discuss how corporate could efficiently turn its resources into required capabilities, adjust its strategic position with time, build competitive advantage and preempt future opportunities in order to reach the objective of sustainable development. The study is an exploratory research, adopting qualitative approach and using case study method. Through an in-depth interview, the study attempts to understand the practical considerations of the corporation regarding strategic decisions and behaviors of supply chain management, cooperative partner relationship, event effect, and brand marketing. On the one hand, by selecting initial and secondary information, the study explores the effect of macro environment trend on corporate strategic positioning; on the other hand, the study discusses the possible determinants of corporate performance through competitors DuPont analysis. In terms of TCE and RBV, the study attempts to observe and analyze how the case company decides their corporate boundary, build and sustain their competitive advantage. And finally, the study provides some thinking directions and suggestions for the strategic action of the textile corporation in the future. The study finds that there are at least five dimensions determine the corporate boundary: technology, industrial feature, demand for flexibility, interest conflict problems, and the key value source of product. Through vertical integration, corporate can make their ordering, purchasing, and manufacturing mode operate more efficiently and reduce risk and transaction cost. And the one-stop service provided through vertical integration can enhance product value for the customers. In the view of RBV, the factors that determine the amazing growth of case company after economic crisis lie in their ability to effectively turn resources to capabilities and to preempt an appropriate strategic position beforehand. By organizing firm-specific capabilities, the case company builds four competitive advantages: in-depth know-how and technology, all-in-one supply service, stable and strong operation mode, and specific customer and product profile. The study points out that connecting to consumers and creating demand will be the future trend of apparel market. In order to eliminate the competitive pressure, Taiwanese textile corporate cannot help but consider brand strategy as one approach which is more likely increase product premium and margin and support the sustainable development of the corporation. Finally, the study has the following outcome and suggestions: (1) In avoid of potential conflict problems with existing customers and within-company operation, it is suggested to build a new individual business to operate the downward brand management. In addition, the stable operation mode and strong technology condition are the necessities for the downward brand development. (2) Since it requires huge capital and sufficient support from updated facilities and business units, SMEs are not suggested to develop branding business. And the corporate is suggested to enter in the niche market where no dominant brand exists if the corporate would like to develop component branding in textile market. In addition, to build a specific mechanism and relationship with partners in the supply chain is critical for the component branding management. Above all, in the era of product diversity and radically changing market, the corporate that possesses effective transferability of organization resource to capability, commands competitive advantages, and dynamically adjust strategic position with external environment can have better chance to preempt future opportunities and to dominate the future market share.
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王照邦. "Cross-border competition policy analysis of the traditional textile industry." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/xw4qz3.
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碩士德明財經科技大學
行銷管理系
105
The textile industry has been regarded as one of the typical traditional industry with labor intensive. In the face of environmental issues and lack of labor resources, the challenge and transformation are very unprecedented. How to transform traditional industry? How companies can respond to the impact of emerging science and technology? The multinational competitive strategy is becoming a prominent study. How to utilizeautomation, computerization, customization, the operation of e-commerce between the Internet of Things and network to facilitate the cross-border e-commerce, has become an emerging direction on guiding the transformation of traditional industry. In this study, according to research purposes, the main topic at home and abroad started collecting papers, books, periodicals and other literature aggregated. Secondly, the problems facing the textile industry Operations and related theoretical basis for the study, design interview questions. Finally, the depth interviews with executives of the case, summarized conclusions and recommendations of this study after analysis. This study found that the case company is advantageous on two aspects. From the micro viewpoint, it holds the quality advantage of passing the US inspection standard, actively cultivates the required manpower for industry, sustains the vertical integration relationship, and enhances the efforts devoted to environmental protection and sustainable practices. From the macro viewpoint, it builds factories and inventory warehouse to provide real time provisioning service in the east for conforming with President Trump’s trade initiatives. By using cross-border electronic commerce platform to identify new customer segments from global marketplace, it establishes the operating headquarter in Taiwan for facilitating vertical integration among multinational companies, so that the global competitiveness can be enhanced and innovative foresight strategy can be initiated to effectively respond to the worldwide emerging challenge.
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Greer, J. Suzanne. "Evaluation of non-traditional animal fibers for use in textile products." 2003. http://www.lib.ncsu.edu/theses/available/etd-04072003-155606/unrestricted/etd.pdf.
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Chang, Ching, and 張倞. "An Ergonomic Evaluation of Thread Rolls Handling Operation in Traditional Textile Factory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/h933a4.
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碩士中原大學
工業與系統工程研究所
106
With the development of economy, manual human work is gradually replaced by automation. Nowadays, factories have been using automated systems in their production lines. Despite the use of automated system, many Taiwanese enterprises still depend on manual work due to limited space, cost, and product features. According to the second paragraph of Article 6 of the Occupational Health and Safety Law of our country, employers should properly plan and take necessary safety and health measures to the workers, prevent musculoskeletal injuries that may be caused by repetitive operations, and provide appropriate shift system and working hours. The KIM-LHC checklist was used to evaluate the handling of the thread rolls in the traditional textile factory. The results showed that the operation was at the third level of risk value, medium and high load operation, and it is recommended to improve the operation. Since most of the facilities in traditional textile factories are designed to match the machine tools and production lines, each large-scale machine, material shelf cart, and transport cart are special specifications, and are not considered from the perspective of personnel. This study will explore the relationship between the height of the material shelf and the height of the cart when carrying the thread rolls to the shelf, and propose the working height combination that best suits the personnel. This study will conduct an experimental evaluation by simulating the handling of the shelfing operations, and compare the operation of the workers at different heights. The simulation will use the original shelf height (50 cm, 110 cm, and 170 cm) and the cart. Height (50 cm), and additionally proposed two other hypothetical cart heights (75 cm, 100 cm) to explore the relationship between the height of different material shelfs and the height of different carts for the physiological changes in the subject''s working. A total of 10 male subjects were enrolled in the experiment. The Borg-10 and an electromyography amplifier were used to collect the upper trapezius, biceps muscle changes and RPE of the subject during the operation. The experimental results show that the index of RPE has a significant P value of 0.000 for the height of the material shelf and the height of the cart. The upper trapezius muscle %MVC and the biceps %MVC only have a significant material shelf height P value of 0.000 and 0.001, respectively. After ANOVA is completed, the working height of the most suitable operator will be obtained by means of ANOM. Finally, the results of this study show that the height of the material frame is 110 cm and the height of the cart is 100 cm, which is the most suitable combination of the height of the work. It reduces the unnecessary high handing and low bending postures of the operator and reduces the occupational musculoskeletal injury occurring.
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HSU, Ling-Ming, and 許齡銘. "A Study of the Bunun Traditional Textile Pattern on the Fashion Products." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/43754354239902721751.
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碩士樹德科技大學
應用設計研究所
104
The Taiwanese indigenous people’s textile can be regarded as exquisite and delicate products. Each group has its own different socio-cultural contexts, weaving a variety of beautiful patterns on indigenous people’s costumes. The materials made and used were mainly home-made. However, the traditional textile culture is gradually replaced by machines and handmade weavings due to the impacts exerted by non-indigenous cultures and social changes. The original indigenous textile taste that the ancestor left has disappeared, despite the bright and beautiful visual effects that today’s geometric pattern of the textile demonstrates. The M.A. thesis would employ the Bunun people’s textile culture to understand the lines and their origin of Bunun’s weaving patterns through literature review. Then the researcher would conduct field research if the data obtained proved insufficient. Finally, the researcher would explore and explain the design expression. Through the textile analysis, the researcher would try to maintain the traditional Bunun textile element and employ different design expressions to apply it to the porcelain products, endowing it with new vitality. The researcher wishes to bring the people’s awareness about the care for their own textile culture in order to achieve the purpose of cultural inheritance. The research discovers that 1) the textile pattern is only used on the non-sleeve clothes; 2) the hand-made crossed textile is used only in Kaohsiung area, yet widely applied on an array of accessories and costumes; and 3) the time-consuming textile fails to bring incomes, bringing the decline of textile culture.