Thèses : « Social aspects of Fashion design »

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Skov, Lise. "Stories of world fashion and the Hong Kong fashion world." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22823682.

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CHATTARAMAN, VEENA. "POST-MODERN FASHION IN INDIA." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029263840.

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Smal, Desiree Nora. "The role of environmental sustainability in a design-driven fashion industry : a South African case study." Thesis, Cape Peninisula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2269.

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Thesis (DTech (Design))--Cape Peninsula University of Technology, 2016. This thesis is an investigation into environmental sustainability in the South African fashion industry, with a particular focus on the role of design therein. The fashion and textile industry is a significant contributor to the South African economy and a major user of human and natural resources. It is through the use of resources – natural, constructed and human – that the industry is also supposedly damaging to the natural environment and the people working within it. Notable authors on environmentally sustainable design and, in particular, environmentally sustainable fashion design, seem to suggest that a holistic approach to environmental sustainability is fundamental to the implementation thereof. Design has the ability to direct change, and thus design and designers have the potential to drive holistic sustainable practices in the fashion system.The question this research therefore poses is what the role of environmental sustainability should be in a design-driven approach in the South African fashion industry; interrogated through an exploratory and descriptive case study. The case study consists of three purposively selected sub-units that operate within an environmentally sustainable focus in their fashion businesses, and that design, produce, and retail fashion products. The aim of the research was to explore, through a snapshot of the South African fashion system, the implementation of environmental sustainability in the fashion industry in South Africa, in order to determine what role fashion design practice can have in developing environmental sustainability in the fashion system.The most notable finding of the research highlights the immense difficulty of operating as a fashion business from an environmentally sustainable focus in South Africa due to the lack (and unsuitability) of resources that can be considered environmentally sustainable. The declining textile industry of South Africa makes it either almost impossible, or very costly, to work within an environmentally sustainable framework, and is a major impediment in the implementation of environmental sustainability in praxis. Therefore, those businesses that decide to operate within an environmentally sustainable framework do so because of inherent personal values and ethics.The second aspect identified in the survey of scholarship and underpinned by the findings, is a need for a transformative approach with regard to design praxis and how design praxis can influence consumer eco-consciousness. The research concludes with a recommended framework that suggests a holistic and integrated approach to design-driven environmental sustainability in the South African fashion industry, and elaborates on the role of the fashion designer in the implementation of environmental sustainability in the fashion system. The holistic and integrated approach should extend into fashion design education, requiring a fundamental shift in current fashion design education in South Africa. University of Johannesburg

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Morales, Marina Única Diaz [UNESP]. "Design de moda: o caminho para a sustentabilidade." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/89764.

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Made available in DSpace on 2014-06-11T19:24:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-07-25Bitstream added on 2014-06-13T18:07:52Z : No. of bitstreams: 1 morales_mud_me_bauru.pdf: 998995 bytes, checksum: 4f949e645e293db5c0a4902ece36da87 (MD5) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) O índice de criminalidade e desocupação e desocupação se faz crescente na cidade de Londrina, no que diz respeito à população de baixa renda, ou seja, famílias que apresentam um rendimento salarial inferior a dois salários mínimos. Diante disso, surge a necessidade de se apresentar alternativas ocupacionais para jovens, buscando o desenvolvimento de um perfil mais adequado para o engajamento social, com o desenvolvimento de habilidades específicas que sirvam de diferencial e de motivação para o futuro profissional. Foi proposto o Projeto Reciclar Recriando a Vida, locado no Centro Social Marista Irmão Acácio de Londrina, utilizando como matéria prima o retraço da indústria do vestuário. Com a finalidade da valorização da vida, promoção da auto-estima, produtos de design de moda foram desenvolvidos. Como resultado desta dissertação, a utilização de recursos de linguagem formulou uma metodologia própria adequando ao perfil dos jovens atendidos. O design de moda, o desenho da figura humana e a linguagem de moda promoveram o desenvolvimento de habilidades que favoreceram as mudanças sócio-culturais, buscando uma identidade, o caminho para a sustentabilidade por meio do design social ou tecnologia social. Criminal and unemployment indexes are growing in the city of Londrina, concerning low outcome population, or better, families that receive less thantwo salaries a month. Due to this reality, it is necessary to come up with occupation alternatives to the youth, searching for the development of a profile more adequated with their social engagement, and for the development of specific abilities that could motivate and serve as diferrential skills for their professional future. For all these reasons, it was proposed on Marista Irmão Acácio Social Center, at the city of Londrina, the project Reciclar Recriando a Vida. Having as objectives the valorization of life and the promotion of self-esteem, the project worked on the creation of fashion draw products. As a result of this work, the utilization of language resources formulated a particular metodology wich was adequated to the profile of young people wich was attended. The fasion draw, the human body draw and the fashion language promoted the development of abilities that favor the social and cultural trends, the search for a identity and the path to the suitable conditions through social draw or social technology.

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Morales, Marina Única Diaz. "Design de moda : o caminho para a sustentabilidade /." Bauru : [s.l.], 2006. http://hdl.handle.net/11449/89764.

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Orientador: Marizilda Menezes dos Santos Banca: José Carlos Plácido da Silva Banca: Henrique A. Cunha Júnior Resumo: O índice de criminalidade e desocupação e desocupação se faz crescente na cidade de Londrina, no que diz respeito à população de baixa renda, ou seja, famílias que apresentam um rendimento salarial inferior a dois salários mínimos. Diante disso, surge a necessidade de se apresentar alternativas ocupacionais para jovens, buscando o desenvolvimento de um perfil mais adequado para o engajamento social, com o desenvolvimento de habilidades específicas que sirvam de diferencial e de motivação para o futuro profissional. Foi proposto o Projeto Reciclar Recriando a Vida, locado no Centro Social Marista Irmão Acácio de Londrina, utilizando como matéria prima o retraço da indústria do vestuário. Com a finalidade da valorização da vida, promoção da auto-estima, produtos de design de moda foram desenvolvidos. Como resultado desta dissertação, a utilização de recursos de linguagem formulou uma metodologia própria adequando ao perfil dos jovens atendidos. O design de moda, o desenho da figura humana e a linguagem de moda promoveram o desenvolvimento de habilidades que favoreceram as mudanças sócio-culturais, buscando uma identidade, o caminho para a sustentabilidade por meio do design social ou tecnologia social. Abstract: Criminal and unemployment indexes are growing in the city of Londrina, concerning low outcome population, or better, families that receive less thantwo salaries a month. Due to this reality, it is necessary to come up with occupation alternatives to the youth, searching for the development of a profile more adequated with their social engagement, and for the development of specific abilities that could motivate and serve as diferrential skills for their professional future. For all these reasons, it was proposed on Marista Irmão Acácio Social Center, at the city of Londrina, the project "Reciclar Recriando a Vida". Having as objectives the valorization of life and the promotion of self-esteem, the project worked on the creation of fashion draw products. As a result of this work, the utilization of language resources formulated a particular metodology wich was adequated to the profile of young people wich was attended. The fasion draw, the human body draw and the fashion language promoted the development of abilities that favor the social and cultural trends, the search for a identity and the path to the suitable conditions through social draw or social technology. Mestre

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Patrick, Adele. "A taste for excess : disdained and dissident forms of fashioning femininity." Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/2012.

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This thesis examines the meanings of forms of fashioned femininity in Britain in the post-war period. Drawing on a range of popular, academic and media texts, the widespread social, political and cultural disdain for the feminised decorative is defined and discussed. Modernist rhetoric and taste, the championing of design austerity, masculinity, bohemianism and appropriations of functional working-class fashioning are shown to be linked to the emergent tastes of Second-Wave feminism. In contrast, fashionings associated with working class and other disdained communities of women, defined here as 'feminine excess', whether in hair, make-up, jewellery or dress is shown to be demonised across historical and contemporary contexts by the arbiters of taste, expressed in key Modernist and feminist texts. Whereas both Modernism and facets of feminism are viewed as occluding and repudiating cultures and forms of working-class femininity, the emergence of queer theories and the rise of camp in popular culture is also critiqued here as ultimately confining discussions of and approbation for fashioned feminine excess to within the ironic discourse of drag. In the absence of research on, in particular working-class women's experiences and dis/pleasures in fashioning femininity, empirical data from female participants discussing their own histories of and tastes in fashioning is analysed alongside memory-work findings. Participants' contributions are discussed in two key chapters that focus on the significance of forms of identification in the self-fashioning of excess, specifically the iconic, excessive model of Dusty Springfield for women and girls growing up in Britain in the 1960s and, secondly, the complex array of meanings of hair and hair fashioning in constructing feminine and feminist selves. Throughout both the significance of class, notions of cultural difference, glamour and other pleasures in the processes of fashioning femininity. In a further chapter an array of media texts are analysed alongside insights generated by research participants focussing on the trope of jewels and jewellery. Desires for, pleasures in and identifications with female stars and Royals through their fashioning of glittering models of excess are charted across an array of popular texts consumed by communities of girls and women. Self-conscious, middle-class tastes for dissident fashioning and ironic appropriations of working-class excesses exemplified in punk or trailer trash vogues are compared to the non-ironic dissidence of Royal Taste, a form of feminine excess exemplified by stars such as Elizabeth Taylor and Shirley Bassey who, it is argued, have usurped the Royal aura in the post war period symbolised in their excessive will to adorn. This thesis concludes with a reflection on the obduracy of discriminatory trashing of working class forms of fashioning femininity and the consequences of this in terms of cultural justice. The hegemony of Modernist taste in paradoxically subordinating and appropriating otherness is critiqued alongside feminist neglect of the productive processes and loci of fashioning. This thesis calls for a re-evaluation of the existing institutional, modernist and feminist demonising of the other, excessive woman, highlights the constructedness of all fashioning and details the cultural value of disdained women's fashioning regimes and tastes.

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謝浩麟 and Ho-lun Tommy Tse. "This is not an LV bag : the simulacra of fashion in and beyond the media business in Hong Kong and mainland China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206434.

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Fashion is ubiquitous, and it plays a significant role in the contemporary global market, in the creative industries and in urban social space. In the realms of art, history, philosophy and cultural studies, however, fashion is often regarded as a subaltern, peripheral or even unorthodox topic. Hence, this study aimed at remapping the relationships among the interdisciplinary and conflicting notions of fashion, determining which and how fashion theories are applicable to the real fashion industry in a specific place at a particular time, apprehending the nuanced mechanisms involved, and seeking to create a substantial case for the social construction of fashion. In general, the research investigated how the global fashion industry and the print media in Hong Kong appropriate, negotiate and re-create ideas of fashion. The research questioned how and why fashion media personnel represent certain luxury brands as fashionable through textual and visual signs, how they learn and improvise their ideas of fashion at the outset, and how they adapt and negotiate fashion’s meanings. The presentation will be in three parts. First, the literature on interdisciplinary fashion theories, the fashion business and case studies will be reviewed to explain the delicate and unobserved process of fashion communication. An empirical study of fashion marketers’ and media personnel’s perceptions, and their creation and negotiation of fashion meanings will be presented. This involved participant observation and in-depth interviews in two different but highly connected fields: as a fashion reporter in the editorial team of a Hong Kong fashion magazine; and as a marketing assistant in the PR and marketing team of a British luxury accessory brand. The rapport built through the fieldwork facilitated thirty-six in-depth interviews with Hong Kong and mainland Chinese fashion media personnel, including the editors, copywriters, advertising sales managers, graphic designers and photographers of twelve publications; Asian fashion bloggers, marketing personnel from global fashion conglomerates, fashion distributors and consultants from across the Asia-Pacific region. The results demonstrate the complex construction and negotiation of fashion culture(s) in Hong Kong and mainland China (in relation to the West) on the personal, organizational, industry and national levels. Whether and how far Western fashion theories can be applied to Asia’s fashion industry and media business is discussed. The results of this interdisciplinary study elucidate the evolution of the fashion media and fashion meanings in Hong Kong and mainland China since the 1980s, unveiling the unique and little-understood apparatus of Asia’s fashion industry in the global context. The “four myths of fashion” theorized by the researcher explain the conflicting imaginaries and hybridized patterns of fashion—It is at once mainstream and niche; is manifested officially and personally; is preset yet negotiable; is at once commercial and creative; comprises both Western and Asian elements; is communicated both top-down and bottom-up; is uprising or decaying at the same time; goes premium and mass in chorus. They also lead readers to look through the simultaneously constraining and enabling nature of fashion—the fashion simulacra—in the postmodern capitalist world in realistic social setting. published_or_final_version Sociology Doctoral Doctor of Philosophy

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Santos, Ana Paula Medeiros Teixeira dos. "Tranças, turbantes e empoderamento de mulheres negras: artefatos de moda como tecnologias de gênero e raça no evento Afro Chic (Curitiba-PR)." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2712.

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CAPES Esta dissertação discute as articulações entre gênero, raça e cultura material na construção dos corpos de mulheres negras que passam pelo processo de transição capilar. A pesquisa está centrada no evento Afro Chic, que acontece em Curitiba e promove ações afirmativas relacionadas ao cabelo crespo e empoderamento de mulheres negras. Percebo esse evento como uma das estratégias da Geração Tombamento, movimento cultural que utiliza a moda e a estética como ferramentas políticas para desconstrução de estereótipos de raça e gênero. A partir de uma análise dos processos históricos ligados à ideologia de branqueamento no Brasil, busco compreender as rejeições e resistências a estética negra no país. Neste evento, me interessam principalmente as oficinas de tranças e turbantes, que ensinam essas técnicas e articulam seu uso à ligação com a cultura afro-brasileira, incentivando um olhar para a diversidade e para o corpo como um todo que é construído por diversos elementos, incluindo a cultura material. A pesquisa é de caráter qualitativo, tendo sido realizada observação participativa na segunda edição do evento, com registro em diário de campo e entrevistas com as facilitadoras das oficinas, com base no método de história oral e história de vida. A partir da teoria de cultura material e dos estudos de interseccionalidade, entendo tranças e turbantes como artefatos de moda e busco compreender como participam do processo de empoderamento de mulheres negras que passam pela transição capilar. Estes artefatos também constroem e desconstroem, marcam gênero e raça nos corpos e, deste modo, argumento que o uso de tranças e turbantes no processo de transição capilar é uma das propostas de “desbranqueamento” dos padrões estéticos no Brasil e estratégia de resistência ao racismo. This dissertation discusses the articulations between gender, race and material culture in the black women’s bodies construction who undergo the process of hair transition. The research is centered on the Afro Chic event, which happens in Curitiba and promotes affirmative actions related to curly hair and black women’s empowerment. I perceive this event as one of the strategies of the Tombamento Generation, a cultural movement that uses fashion and aesthetics as political tools for the deconstruction of race and gender stereotypes. By an analysis of the historical processes related to the bleaching ideology in Brazil, I try to understand the rejections and resistances of the black aesthetics in the country. In this event, I am interested mainly in the braids and headwraps workshops, which teaches these techniques and articulate their use in connection with the Afro-Brazilian culture, encouraging a look at diversity and for the body as a whole constructed by different elements, including material culture. The research is qualitative, with participatory observation in the second edition of the event, with a field journal and interviews with the facilitators of the workshops, based on the method of oral history and life history. By the theory of material culture and intersectionality studies, I understand braids and turbans as fashionable artifacts and try to understand how they participate in the process of empowering black women who undergo the hair transition. This artifact also construct and deconstruct gender and race in the bodies and, therefore, I argue that the use of braids and turbans in the process of capillary transition is one of the proposals of "unbleaching" of Brazilian aesthetic standards and racism’s resistance strategy.

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Zahid, Iqba Muhammad. "Sustainable Fashion Consumption and Consumer Behavior." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20715.

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Thesis was carried out to make an estimation of the willingness of consumers to buy the clothes produced under eco-friendly and decent way. Neoclassic demand theory was used and basic idea was to know that either moral effects on a consumer’s individual decision while choosing the products manufactured under friendly environment or not; if yes, then how and how much. Survey method along with choice experiment analysis was used to collect the data. Selected area was Boras Sweden and 50 respondents were considered for the survey. To estimate the degree of willingness of a consumer to pay for a Swan labeled and/or Fairtrade labeled jeans, choice experiments was used. Afterwards, the collected data was used within econometric models. It has been observed from results that consumers were more willing to pay for a Swan labeled and/or Fairtrade labeled jeans than non-labeled jeans. The responsible individuals regarding environment were much more willing to pay for Fairtrade and/or Swan labeled clothes, considering the factor that production does not affect the environment in negative way and it was done under socially acceptable conditions. Program: Magisterutbildning i Fashion Management

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Sun, Yanshu. "Media exposure, self and fashion clothing involvement of Chinese young people: analyses of effect models." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/15.

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This study develops a complicated analysis model to explore more understanding for fashion communication in Confucian culture background, especially for the latest Chinese fashion. The current study examines theoretical connections between media exposure, some psychological and social variables and fashion clothing involvement in Chinese society within a predictive framework. To better understand the relations between these psychological factors, social norms and fashion clothing involvement, this study also explores several effect models, such as moderation effect, mediation effect and mediated moderation effect. Two studies were conducted using both quantitative and qualitative methods. In the first study, the author collected data through a random sampling survey. To cross-validate the survey findings, a second study adopting the method of group interviews was conducted. Results indicate that fashion clothing involvement is a function of exposing to the media, achievement lifestyle, perception of success, peer influence, cognitive dissonance reduction, and comparing with others. The results also indicate the complicated relations, such as, lifestyle factor moderates the tie between media exposure and fashion clothing involvement; social comparison processes mediates the relationship between media exposure and fashion clothing involvement; self-discrepancy also influences the relationship as a moderator; notably, social comparison mediates the moderation effect from self-discrepancy. Individuals with high levels of self-discrepancy experience more negative emotion from comparing to thin-ideal image in fashion media than those with low levels. Another finding is that traditional media, particularly magazines, are as strong in explanatory power as new media (e.g. website) in the model of fashion communication. Theoretical implications of this study provide an advance in understanding the mechanisms underlying internalization and the use of social norms, furthermore, develop the knowledge of self related theories.

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Peitsch, Edward M. B. "Making over masculinity : the metrosexual and the rise of the style-conscious male." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81508.

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This thesis considers the figure of the metrosexual, a contemporary archetype of stylish masculinity that has received considerable attention in the global media. It traces the development of a style-conscious and consuming masculinity in the West since the eighteenth century, through the figures of the dandy, the playboy and the new man. It also traces the discourse that has emerged in relation to metrosexuality in the Western media, from its first mention to the present. The metrosexual represents a significant departure from the norms of Western masculinity, most notably in his relationship to the homosexual and homoerotic. This thesis considers the implications of such a version of masculinity as they relate to women, gay men and theories of masculine subjectivity.

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LI, YANZI, and SARAH MOUSSEAUX. "Luxury fashion brands on social media : a study of young." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17375.

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The implementation of this research increases the awareness of the value for luxury fashion brands in utilizing social media as a communication channel to reach young consumers globally. It provides a general understanding of young consumers’ perception of luxury fashion brands on social media in regards to geographic cultural background, attitude towards new luxury, and preferred way of contacts. Program: Master Programme in Fashion Management

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Bill, Amanda Elizabeth. "Creative girls: fashion design education and governmentality." Thesis, University of Auckland, 2009. http://hdl.handle.net/2292/4234.

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This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

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Darroch, Lynne M. "All dressed up : adornment practices, identity and social structure." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69551.

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This thesis attempts to survey the function of clothing adornment practices as a form social communication. It is shown that clothing enables the formation and distinction of social groups. The ways in which clothing becomes symbolic for a group and the way in which this system is challenged and/or destroyed are also examined. A distinction between fashion and antifashion is made to enable a repositioning of the Western system of dress into a wider context of meaning. Assumptions on the nature of appearance as related to the concept of truth are examined. Chapter One looks at the various and contradictory myths of body ideals, challenging the opposition of nature and culture. Chapter Two examines the uniform and applies its characteristics to all forms of dress. Chapter Three provides a brief summary of the history of sumptuary laws and how they operate in the social world. Throughout this work, common sense assumptions and privileged reading of particular theoretical frameworks are challenged. Theory itself is subject to fashion, allowing for a comparison to be made between human adornment and the methodologies that attempt to define its practices.

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Corvera, Madeleine, and Karolina Johansson. "SMEs and social media : A study about how SMEs in the fashion industry should approach social media." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16792.

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Background The rules of marketing are changing all the time and companies have to develop new types of marketing to survive in the hard competition today. Technology has taken marketing in a new direction, where online marketing is the most dynamic and fast-moving field within marketing today. Social media is a part of online marketing that has increased a lot over the past years. Companies in the apparel industry are using social media frequently today as a way to communicate with their customers and are now being able to communicate and reach to their consumers to a much lower cost than ever before.Research Question: - What should a small and medium sized enterprise in the fashion industry consider when approaching social media successfully as a marketing strategy?Method: This thesis is based on a qualitative study with mainly in-depth interviews. We have held interviews with several respondents within our research field but with knowledge in different areas. We believe that this gives an overall perspective to the problem.Purpose: The purpose of this thesis is to increase our knowledge of how social media can be used as a marketing tool by SMEs in the fashion industry.Conclusions in short: Our main conclusion to the research is that to work with social medium in a successful way as a small or medium sized fashion company you need devotion. There is no ”right” way, and the strategy takes time. Everything should be well planned according to the nature of the business and the goals. Furthermore it is important to realize that social media is not focused on creating sales, but instead on building relationships and giving you as a business owner an insight to your customers’ minds. Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing

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Silva, Tania Cristina do Ramo. "Linguagem visual de estamparias têxteis: análise comparativa de aspectos semânticos, simbólicos, sintáticos e plásticos em padronagens gráficas de tecidos para vestuário de usuárias das classes sociais média e alta." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-16112017-094124/.

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Esta pesquisa objetivou identificar padrões formais, plásticos, sintáticos, semânticos e simbólicos eventualmente mais característicos de estamparias têxteis voltadas ao vestuário de usuárias das classes sociais média e alta. O estudo, de natureza mista, quantitativa e qualitativa, apresentou caráter essencialmente fenomenológico, buscando percepções de usuárias e especialistas (designers), ao comparar padronagens de estamparias gráficas utilizadas por mulheres das classes sociais média e alta. Do ponto metodológico, a pesquisa foi dividida em três estágios principais. Em um primeiro estágio foram selecionadas quatrocentas amostras de imagens de estampas voltadas para usuárias das classes média e alta, sendo duzentas amostras de cada classe. Estes dois grupos de duzentas amostras foram, então, reduzidos, aleatoriamente, a dois grupos de vinte amostras. Cada amostra, a partir deste ponto, foi minuciosamente isolada e abstraída do desenho da roupa, da pessoa que a estivesse trajando e de seu entorno, evitando-se variáveis contaminantes. No segundo estágio, as vinte amostras, já isoladas e abstraídas, foram individualmente apresentadas a especialistas (designers), com objetivo de estimulá-los a verbalizar categorias conceituais que pudessem ser utilizadas como norteadoras de um diferencial semântico a ser elaborado no terceiro estágio. Por fim, no terceiro estágio, sete amostras de cada um dos dois grupos foram reunidas, aleatoriamente, e apresentadas a dois grupos de respondentes (especialistas e usuárias) de maneira a atribuírem valores numéricos de 1 a 5 quanto a dez parâmetros (bipolarizados) induzidos a partir das análises obtidas dos dados oferecidos por especialistas no segundo estágio. Participaram do terceiro e último estágio 55 respondentes, sendo seis designers e 49 usuárias. Os resultados deste estudo foram, então, estratificados em vários quadros, entre os quais: amostras apenas da classe média, com respostas de especialistas e de usuárias; amostras apenas da classe alta, com respostas de especialistas e de usuárias; amostras da classe média e da classe alta, com respostas apenas de especialistas; amostras da classe média e da classe alta, com respostas apenas de usuárias; e amostras da classe média e da classe alta, com respostas da média de especialistas e usuárias. O cruzamento geral destas várias estratificações revelou singular e pouco antecipada convergência das respostas de especialistas e de usuárias sobre padrões de estampas têxteis atribuídos às classes média e alta. Notou-se, por exemplo, coincidências acentuadas nas respostas nas categorias simbólico/literal, cromático/acromático, sofisticado/rústico, linear/aleatório, clássico/moderno e geométrico/orgânico, entre amostras de padronagens têxteis voltadas às usuárias das classes média e alta. Divergências discretas foram, entretanto, observadas nas categorias equilibrado/desequilibrado, simetria/assimetria, comum/incomum e figurativo/abstrato. Este estudo conclui que variações qualitativas no vestuário das classes média e alta estariam, portanto, localizadas menos no âmbito das características formais, semânticas, simbólicas e estéticas das padronagens têxteis, residindo, muito possivelmente, sobretudo, na qualidade da impressão, acabamento, coloração, fiação, tecelagem, costura e em minúcias de seus desenhos apenas perceptíveis pela proximidade física e tátil dos referidos tecidos e peças de vestuário This research aimed to identify formal, syntactic, esthetic, semantic, and symbolic patterns possibly more closely associated with textile designs geared to the clothing of female middle and upper class users. The study, of a mixed nature, combined both the quantitative and qualitative approaches. It was of an essentially phenomenological character, searching for the perceptions of both users and design specialists, as they compared graphic design patterns utilized in the clothing of middle and upper class women. From a methodological standpoint, the study was divided into three main stages. In the first stage, 400 samples of photographs of textile design geared to female middle and upper class users, 200 corresponding to each group, were randomly selected from a variety of sources. Out of these two groups, another selection was then randomly conducted as well, narrowing both groups down to 20 samples each. Each textile sample, at this point, was thoroughly isolated and taken from the actual design of the clothing, from the person who might be wearing it and from its surroundings, therefore avoiding contaminant variables. In the second stage, those 20 samples, already isolated and taken out of their surroundings, were individually shown to textile and fashion design specialists, aiming to stimulate them to verbalize conceptual categories that could be utilized to guide the elaboration of a semantic differential in the third stage. Finally, in the third stage, seven samples from each of these two groups were randomly ordered and displayed to two groups of participants (design specialists and users). They were asked to grade them with numeric values from 1 through 5 regarding ten parameters (bipolarized) which were previously developed based on data provided by design specialists during the second stage. In this final stage, 55 respondents took part, six of which were design specialists and 49 of which were users. The results of this research were then stratified and displayed into various tables and charts, amongst which were: exclusively middle-class samples, featuring answers of both design specialists and users; exclusively upper-class samples, featuring answers of both design specialists and users; samples of both middle and upper class, featuring answers exclusively of design specialists; samples of both middle and upper class, featuring answers exclusively of users; and, finally, samples of both middle and upper class, featuring combined answers of design specialists and users. Cross-referencing of the various data stratifications revealed a unique and little-anticipated convergence of answers from both design specialists and users regarding textile graphic patterns linked to either middle or upper class clothing. Significant, coinciding patterns of responses were noted in conceptual categories such as symbolic/literal, chromatic/achromatic, sophisticated/rustic, linear/random, classic/contemporary and geometric/organic, among samples of graphic textile patterns associated with middle- and upper-class female users. Discrete divergences were identified, however, in categories such as balanced/unbalanced, symmetrical/asymmetrical, plain/rare and figurative/abstract. This study, then, reached the conclusion that qualitative variations in graphic design patterns in clothing of middle- and upper-class female users might, therefore, occur less in the realm of the studied formal, semantic, symbolic and aesthetic graphic textile patterns, as they seem to most likely reside, above all, in the printing quality, finishing, coloring, threading, weaving, sewing and in minute drawing details of the actual graphic textile patterns which can only be ascertained and appreciated by means of physical and tactile proximity to these graphic patterns and the actual clothing itself

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Castro, Mariana Dourado. "Aspectos da negociação entre designer e usuário em ateliês de moda : os mecanismos utilizados pelos designers em momentos de conflitos no processo de projeto." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6454.

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Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-08-01T13:55:12Z No. of bitstreams: 1 Mariana Dourado Castro_.pdf: 3163818 bytes, checksum: 2ff0f1fa27452a774199fd07ab71e354 (MD5) Made available in DSpace on 2017-08-01T13:55:13Z (GMT). No. of bitstreams: 1 Mariana Dourado Castro_.pdf: 3163818 bytes, checksum: 2ff0f1fa27452a774199fd07ab71e354 (MD5) Previous issue date: 2017-03-14 Nenhuma Esta dissertação apresenta uma pesquisa a cerca da negociação no design de moda sobmedida, tendo como objetivo analisar os mecanismos usados pelos designers em momentos de conflitos durante o processo de projeto que envolve a participação do cliente. Para tanto é apresentado referencial teórico em dois capítulos. Onde inicialmente, são discorridos os conceitos de design, aspectos referentes aos processos e modelos de projetos de design, para por fim descrever o processo característico dos projetos de moda sobmedida. Segue-se a abordagem conceitos relativos a conflito e negociação, importância da negociação e meios para a solução de conflitos. A investigação em caráter exploratório com abordagem qualitativa foi realizada por meio a entrevistas semiestruturadas, buscando a visão dos designers, que foram submetidas à Analise de Conteúdo. Após apresentação dos resultados obtidos, são dispostas as discussões ampliando os conhecimentos sobre a compreensão de como designers de moda agem ao enfrentar momentos de conflito junto a seus clientes em projetos exclusivos. A pesquisa contribuiu para a discussão do tema, bem como foi esclarecedora em relação à prática de projeto de moda envolvendo os clientes. This dissertation presents a research about the negotiation in custom-made fashion design, having as obtectives to analyse the mechanisms used by designers to solve conflicts during the design prosses involving the participation of the client. For this purpose, the theoretical reference is presented in two chapters, where it is discussed the concepts of design, aspects related to processes of the designers and tools for conflict resolution. It was carried out the exploratory research with qualitative approach through semi-structured in-depth interviews, seeking the view of designers who were submitted to the Content Analysis. After the presentation of the results obtained, it is presented the discussions, increasing the knowledge on the understanding of how fashion designers act when facing moments of conflict with their clients in exclusive designs . The research not only contributed for the discussion of the theme but was also illustrative as to the practice of fashion design involving clients.

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Shercliff, Emma. "Articulating stitch : skilful hand-stitching as personal, social and cultural experience." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1693/.

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This practice-led PhD research explores the nature of embodied knowledge acquired and practised through the rhythms and patterns of hand-stitching processes, such as embroidery, plain sewing and patchwork quilting, undertaken by individuals alone and in dedicated groups as recreational craft, artistic expression and social life. The scale and pace of hand-stitching match those of the body, grounding cognitive and emotional experience in a tangible process. The hand-eye-mind coordination required cultivates a distinctive form of attention to the self, which has renewed importance in the context of the anti- haptic experiences of screen technologies that infiltrate our daily routines in the home and the workplace. Working with the premise that skilled hand-stitching concerns more than technical ability, I examine how these activities articulate dimensions of subjective experience. In turn, I explore ways in which the relationship between an individual and a group is constructed through their crafting skills. My previous experiences of textile crafting as a social activity drew me to this question, and my interest as a practitioner and teacher in the contemporary and future relevance of skilful work motivates me to better understand what it is that I, and many other stitch practitioners, do. With the tacit knowledge of a practitioner I know how to stitch, and from my investigations into the history and theory of textile art, craft and material culture I know about stitch. However, my view is that when absorbed in the process of making other more immediate and personal sensations take over. An exploration of haptic sensations relative to these processes underpins the investigation, and I focus instead on the dynamic relationship between practical skill, the body and its proximity to tools, materials and other people during actual experiences of making – the repeated gestures, coordinated hand movements and the skilled precision of tool use and fingertip manipulation – to provide a new context for the study of embodied knowledge known in and through hand-stitching. In order to explore this I have used a combination of ethnographic, auto-ethnographic and creative research methods including interviews, observation, video recording of a patchwork quilting group, participation in practical stitching sessions with a village embroidery group, undertaking workshops with students, and my own reflective stitching practice. It has emerged from the research that patterns of hand-stitching processes share characteristics with certain modes of social interaction sought by participants in order to experience sensations of participation, belonging or interdependence. Similarly to other oral traditions, an embodied knowledge of the practice includes patterns of interaction and particular attitudes and behaviours that are inseparable from the practical skills. However, people also stitch on their own; as a private, contemplative activity, hand-stitching allows a person to carve out time and space for introspective reflection. Whilst this could be thought of as a different kind of experience altogether, I suggest that mastery of these skills enables control over when and how to use them, which, I have found, allows a practitioner to adjust the type of experience sought: participation in a shared conversation or activity can be exchanged for isolated contemplation and a sense of self-reliance. I conclude that hand-stitching surpasses its technical or artistic attributes when considered as a material practice that offers particular metaphors for other processes of joining, collaboration, integrity – or even separation and isolation. Practising these skills is possibly the only way to acquire this embodied knowledge, which needs to be understood as a mode of interaction if it is not merely trivialised as quaint, as domestic labour or archived as ethnographic curiosity or as art object.

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HOKKANEN, SILJA. "Fashion brands and consumption in postmodern consumer culture. The construction of self and social identities." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18045.

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Today’s postmodern consumer culture is embedded with consumption and products are now used for their symbolic properties. Possessions have become so important for us that they have become a part of our extended selves and forms of differentiation between individuals and groups of people. The purpose of this research was to gain a better understanding of the role of fashion brands in the identity construction of adults. The objectives of the research focused on how an individual’s identity of self is constructed with the help of fashion brands, especially in social environments, and how an individual’s social identity is formed through fashion brands and in- and out-groups. The topic is discussed while uncovering brand symbolism and relationships. Consumer Culture Theory (CCT) was used as a theoretical framework in this research. Focus group studies were chosen as a research method and total of three focus group discussions with participants aged between 19 to 32 years were held in Helsinki, Finland. The consumption of fashion brands was found to have a relevant role in the construction of an adult’s identity. Consumption of particular fashion brands was used to communicate personalities and identities, and relationships with fashion brands were found to become especially important in social situations. Fashion brands also stand central in the formation of in- and out-groups and friends were found to have the biggest influence over consumption choices. In-groups were found to form between people with interests towards the same fashion brands and unfavourable fashion brands were associated with members of out-groups. Adults were found to categorise people into groups based on the brands they wear and prevailing stereotypical mental images. Individual self-expression through fashion brands was found high, although given the concept of a salient identity, individuals were often found to conform to the expectations of the in-group. Most importantly, individuals and in-groups stated differentiation from out-groups to be a priority. Program: Master programme in Fashion Management

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Michetti, Miqueli 1982. "Moda brasileira e mundialização = mercado mundial e trocas simbólicas." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280865.

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Orientador: Renato José Pinto Ortiz Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Made available in DSpace on 2018-08-19T20:39:25Z (GMT). No. of bitstreams: 1 Michetti_Miqueli_D.pdf: 4119704 bytes, checksum: b2edf78e25f6d3ad5d22d81dcef22981 (MD5) Previous issue date: 2012 Resumo: A "moda brasileira", a despeito de seu nome, não conforma um fenômeno nacional. Ela integra e tem por condicionantes os processos de globalização de mercados e de mundialização da cultura. Com o objetivo de elucidar porque a "moda brasileira", enquanto configuração material e simbólica, só faz sentido se pensada no seio desse panorama mais amplo, realizamos pesquisas de campo em eventos de moda nos quais ela era apresentada, sediados nas cidades de São Paulo, do Rio de Janeiro e de Paris. Análises bibliográficas e de conjuntura também foram cruciais para entendermos a articulação de diversos agentes, imbuídos de interesses, valores e discursos específicos, em torno da volição de se construir uma "moda nacional", ao mesmo tempo diferente e equivalente das modas historicamente consagradas. A partir da abertura do mercado brasileiro ocorrida na década de 1990, o setor nacional de têxteis, confecções e moda assistiu à transformação do estado da concorrência no mercado doméstico, diante do que buscou-se construir um "diferencial competitivo" para a moda do país, desde então às voltas com o mercado global. Esse movimento é perpassado por dinâmicas simbólicas complexas, visto que, embora a moda nacional seja majoritariamente produzida e consumida no mercado doméstico e, nesse sentido, não seja econômica ou objetivamente global, a globalidade é atualmente erigida como um valor mundialmente válido e, conseguintemente, mesmo visando especialmente o mercado interno, a moda do país precisará adequar-se a padrões de organização, qualidade e consagração que se tornam globais. Diante disso, ela buscará ser reconhecida enquanto "global" e, para tanto, tentará consagrar-se junto às "capitais mundiais" da moda. Todavia, para ser aceita em um mercado global de bens simbólicos que elege também a diversidade como valor positivo, a moda do país deverá ser oferecida enquanto "brasileira". Logo, as iniciativas em prol da constituição de uma "moda nacional" e aquelas com vistas à sua globalização são simultâneas porquanto correlatas. Isso explica porque, embora configure um fenômeno característico da globalização, a "moda brasileira" tomará por fonte simbólica as representações sobre "o" Brasil e sua suposta diversidade. É por isso também que as construções identitárias no bojo das marcas de moda nacionais com pretensões globais buscarão não se restringir aos usos da "brasilidade", mas encampar os dois valores caros à moda atual. Contudo, no mesmo momento em que as identidades são discursadas como "flexíveis" e em que a mobilidade se torna quesito valorativo, as condições das composições identitárias entre diversidade e globalidade serão desigualmente distribuídas conforme os agentes enverguem posições mais afeitas à fixidez ou à mobilidade, o que apresenta vínculos mediados com seus pertencimentos geosimbólicos. Portanto, a "moda brasileira" buscará emprestar globalidade das instâncias globais de consagração, as quais, de sua parte, precisarão da diversidade imputada às ditas "modas do mundo". Porém, embora a moda global integre hoje agentes e regiões que não constavam anteriormente na cartografia do setor, as novas relações a que dá lugar não são isentas de hierarquias. Ainda que interesses mútuos sejam contemplados nas novas trocas econômico-culturais constitutivas da moda contemporânea, nelas alguns tem mais a ganhar Abstract: The "Brazilian fashion", despite its name, is in fact a global phenomenon which is conditioned by the processes of globalization of markets and culture. In order to elucidate why the "Brazilian fashion", conceived as a material and symbolic assemblage, only makes sense if thought within the globalization conjuncture, we conducted field researches in the cities of São Paulo, Rio de Janeiro and Paris, more specifically in fashion events where the "Brazilian fashion" was presented. Literature reviews and conjunctural analysis were also crucial to understand the articulation of different agents, imbued with specific interests, values and discourses around the volition to build a "national fashion", at the same time different and equivalent of the historically consecrated fashions. Due the liberalization of the Brazilian market in the 1990s, foreign competition in the domestic market impelled the national industry of textiles, apparel and fashion to build a "competitive edge" for the country?s fashion in order to deal with the global market. This movement is permeated by complex symbolic dynamics, for although the national fashion is mostly produced and consumed in the domestic market and, in this sense, is not economically global, "globality" is now established as a worldly valid value and, consequently, the national fashion has to conform itself to organizational, qualitative and consecration standards, which become global, even though the internal market is its most important target. Because of this, "Brazilian fashion" seeks to be recognized as "global" and, therefore, tries to consecrate itself in the "fashion capitals" of the world. However, to be accepted in a global market of symbolic goods which elects diversity as a positive value, the national fashion must be offered and show itself as "Brazilian". Therefore, initiatives to promote the establishment of a "national fashion" and those seeking its globalization are simultaneous and correlated. This explains why, although it is a globalization phenomenon, the "Brazilian fashion" will take some representations of "the" Brazil and its presumed diversity as its symbolic source. It also explains why the construction of the identities by the national fashion brands with global aspirations couldn?t be restricted to the uses of "Brazilianness", for it has to encompass both fashion market current values. Nevertheless, in the same conjuncture in which identities are discoursed as "flexible" and where mobility becomes positively distinctive, the conditions of identity compositions between globality and diversity are unevenly distributed according to a more fixed or mobile position of agents, which has mediated links with their geosimbolic belongings. Thus, the "Brazilian fashion" tries to borrow the consecration of global instances, that in turn need the diversity attributed to the so-called "local fashions" or "world fashions". Although nowadays global fashion integrates agents and regions which were not included in the earlier cartography of the sector, and even if mutual interests are covered in the new economic and cultural exchanges that constitute the contemporary fashion, the new relationships it arises are not free of hierarchies Doutorado Sociologia Doutor em Sociologia

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Brunini, Nathália Cristina. "Fast fashion e as armadilhas do discurso democrático: análise da rede de varejo Riachuelo." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21410.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-05T12:10:14Z No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) Made available in DSpace on 2018-09-05T12:10:14Z (GMT). No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) Previous issue date: 2018-08-13 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES The theme of this research is the fashion market model known as fast fashion, characterized by its rapid production and marketing speed. The study seeks to understand this model as an ambivalent system, in other words, on the one hand, the "democratization" of fashion. On the other hand, a predatory and exploitative circuit, since it increases the access of the general public to the latest trends due to the affordable price, but at the same time expands the political, economic and social cracks, explained by the precarious conditions of work in which it is manufactured part of the fast fashion products. The central hypothesis is that the partnerships made between renowned designers and sizeable fast fashion retailers are a symptom of the new modes of communication, in an era marked by the generalization of aesthetic strategies, with a commercial purpose, under the discourse of accessibility to the general public. As a corpus of the research, we opted for the case study of the Riachuelo retail chain, especially the partnerships signed between the Brazilian company and four renowned designers: Oskar Metsavaht (2010), Osklen, Donatella Versace (2014), Versace, Karl Lagerfeld (2016), Chanel and Fendi, and one of the most recent, Paula Raia (2017), self-styled slow fashion. As methodological strategies, we follow the proposal to broadly contextualize the incidence of fast fashion in the major European fashion centres and at Brazil; to analyse the growth and repositioning of Riachuelo, which, from a small fabric store in Pernambuco (the 1940s), became a Brazilian fashion retail giant; and to discuss, conceptually, the fragility of this democratization within the framework of fast fashion, based on the explication of Riachuelo's communicational strategies, present in materials for the partnerships as mentioned above O tema desta pesquisa é o modelo mercadológico de moda conhecido como fast fashion, caracterizado pela sua rápida velocidade de produção e comercialização. O estudo busca entender este modelo como um sistema ambivalente, ou seja, por um lado “democratizador” de moda, mas, por outro, um circuito predador e exploratório, uma vez que aumenta o acesso do grande público às últimas tendências, devido ao preço acessível, mas, ao mesmo tempo, amplia as fissuras políticas, econômicas e sociais, explicitadas pelas condições precárias de trabalho em que é fabricada grande parte dos produtos de moda rápida. A principal hipótese é que as parcerias feitas entre renomados estilistas e grandes redes de lojas populares adeptas ao fast fashion são um sintoma dos novos modos de comunicação, em uma era marcada pela generalização das estratégias estéticas, com finalidade mercantil, sob o discurso de acessibilidade ao grande público. Como corpus da pesquisa, optamos pelo estudo de caso da rede de varejo Riachuelo, especialmente as parcerias firmadas entre a empresa brasileira e quatro estilistas renomados: Oskar Metsavaht (2010), da marca carioca Osklen, Donatella Versace (2014), da Versace, Karl Lagerfeld (2016), da Chanel e da Fendi, e, uma das mais recentes, Paula Raia (2017), autointitulada slow fashion. Como estratégias metodológicas, propõe-se contextualizar, de forma ampla, a incidência do fast fashion nos grandes centros europeus de moda e no Brasil; analisar o crescimento e reposicionamento da Riachuelo que, de pequena loja de tecidos pernambucana (década de 1940), tornou-se a gigante do varejo de moda brasileira; e discutir, conceitualmente, a fragilidade dessa democratização dentro dos moldes do fast fashion, a partir da explicitação de estratégias comunicacionais da Riachuelo, presentes em materiais de divulgação das parcerias citadas

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Foster, James C. "Joint optimization of the technical and social aspects of workplace design." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/31002.

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Thesis (M.S.)--Massachusetts Institute of Technology, Sloan School of Management, 1985. MICROFICHE COPY AVAILABLE IN ARCHIVES AND DEWEY. Bibliography: leaves 91-97. by James C. Foster. M.S.

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Higgins, Kathleen M. "Consumer Compulsive Buying and Hoarding in a World of Fast Fashion." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799553/.

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The purpose of this study was twofold: (1) to determine the relationships between social media, fashion interest and fast fashion involvement and whether these psychographic variables affect propensity for compulsive clothing buying and (2) to determine whether a relationship exists between compulsive buying and propensity toward hoarding. Data was collected through consumer panel from Qualtrix. Screener questions ensured that all respondents were adult females with an interest in fashion. Responses yielded 232 usable surveys, which were analyzed using SPSS software. Social media was found to be positively related to fashion interest, fast fashion involvement, and compulsive clothing buying. Compulsive clothing buying was found to be positively related to all three compulsive clothes hoarding symptoms: clothing clutter disorganization, clothing acquisition, and difficulty discarding clothing.

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Salamat, Rana. "RichComment : Designing an Interactive Commenting System for Visual Content in Fashion Social Networks." Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-232318.

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In this study, a new design of commenting system for visual contents is investigated. The aim is to explore the elements which enrich the user interaction and enhance the user experience while commenting, specifically on fashion social networks. This study explores how an improved commenting system may motivate fashion social networks’ users to express their idea about fashion products. A speculative design approach is used as a means for investigation. A design process consisting of semi structured interviews, thematic analysis, paper prototype, online prototype and user testing is followed to design a human-centered commenting system. The results suggest that providing richer tools for commenting could improve the user interaction. The most promising elements to use in fashion social media commenting system are color and pattern palettes, tagging comment and comment categorization. These elements enable fashion customers to express their ideas easier and obtain a holistic overview around other peoples’ comments. Apart from fashion brands’ social networks, the approach may also be more effective in fashion brand websites. People would like to have a strong impact on fashion brands. Therefore, commenting somewhere that is tightly connected to fashion brands are preferred rather than having the conversation just among themselves in social media. Detta projekt handlar om att undersöka och utforma ett nytt system för att kommentera visuellt innehåll. Mer specifikt är målet att utforska de element som berikar användarinteraktionen och förbättrar användarupplevelsen i kontexten av sociala nätverk och kommentarer kring klädmode. Detta projekt tittar på hur ett förbättrat kommentarsystem kan motivera användare på sociala nätverk att uttrycka sig i termer av egna idéer kring modeprodukter. Designprocessen för projektet består av semi-strukturerade intervjuer, tematisk analys, pappersprototyper, online-prototyper och användarstudier i syfte att designa ett mer användarcentrerat kommentarsystem. Resultaten pekar på att genom att tillhandahålla ett rikare verktyg för kommentarer så kan användarens interaktion och upplevelse förbättras. De delar av designen för att kommentera mode i sociala nätverk som är mest lovande är färg och mönsterpaletter, taggning av kommentarer samt kategorisering av kommentarer. Dessa delar gör det möjligt för potentiella kunder att på ett enkelt sätt uttrycka sina idéer och samtidigt få en överblick av andra människors kommentarer. Bortsett från modevarumärkenes sociala nätverk så kan tillvägagångssättet även appliceras på mode-bolagens egna webbplatser. I studien såg vi att användare önskar ha en starkare relation till dessa varumärken och mode-bolag. Av detta följer att det är viktigt att användare har möjlighet att på ett rikare sätt kommentera i den nära kontexten till mode-varumärken snarare än att ha konversationen i vanliga sociala medier.

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Stwodah, Hawa. "ADORNMENT AND MODESTY A Symbiotic Relationship between Surface Design and Social Behavior." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4115.

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The impulse to beautifying clothing through acts of adornments or embellishments is an innate characteristic of humans. The added decorative details are used for identification and visual communication by the wearer and comprehension and visual appreciation by the viewer. This thesis investigates the recent attention to female modesty, labeled as the Modesty Movement--the community that has developed around the apparel segment of the Movement and the framework of the behavior encompassing the participants within Movement. Additionally, the thesis focuses on adornment through the lens of textile/surface design (embellishment) specific to the Greater Middle East and the northern provinces of India and its application to modest apparel. Surface design is defined as manipulation of a textile beyond the woven construction, in this context it is applied to women’s apparel that covers the head and chest. Through a series of experiments using light, sound and motion the thesis examines how the use of of adornment simultaneously conveys identity and conceals the wearer.

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Moore, Patricia Lee. "Reader/viewer response to the rhetoric of costume." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/570.

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Ballie, Jennifer. "e-Co-Textile Design : how can textile design and making, combined with social media tools, achieve a more sustainable fast fashion future?" Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7789/.

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This research acknowledges that the convenience of fast fashion has shifted dependence on skills such as dressmaking, repairing and altering, passed from one generation to the next. Because of the accessible and affordable nature of mass manufacture the consumer is becoming less active within the design, production and maintenance of their clothing. This research proposes to up-skill consumers and intercepts their flow of fast fashion consumption using textile design interventions. These explore how textile design processes can be combined with social media tools to support a renaissance of making through four different concepts to empower consumer participation. The Textile Design Interventions demonstrate accessible processes of making and aim to broaden engagement. The democratic ethos of the interventions also enables agency to evolve beyond orchestrated interactions. Through evaluating the process of designing, developing and demonstrating textile design interventions a new proposition emerged titled ‘e-Co-Textile Design’. This model demonstrates how social and digital media can provide a vehicle for textile designers to facilitate participatory experiences. Fast fashion, both in terms of the product and activity, challenges the concept of sustainability. This research positions textile design interventions from outside the fashion system as a means of achieving more sustainable consumer activity, through longer-term consideration and connectivity toward fast fashion purchases. This is achieved by making accessible new-found skills and resources via social media. Future research requires a longitudinal study to evaluate the impact from the consumer’s perspective.

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Tam, Pui-yim Jenifer. "Japanese popular culture in Hong Kong : case studies of youth consumption of cute products and fashion magazines /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25017585.

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Bianchi, Michelle, and Malin Fredriksson. "Opportunities and barriers to CSR : A qualitative case study of the most important aspects of CSR in medium-sized fashion companies in the moderate price range." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10720.

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This thesis covers a qualitative case study of corporate social responsibility work in medium-sized fashion companies in the moderate price range. The aim of the study was to research the barriers and opportunities to corporate social responsibility in medium-sized fashion companies within the moderate price range in order to understand which aspects that are most important for these companies to focus on. Corporate social responsibility, shortened CSR, means taking environmental, social and financial responsibility for all actions of the company. The industry of the company as well as different company characteristics creates different contexts in which a company may work with CSR. The fashion value chain is a context for fashion companies. In order for a fashion company to be sustainable, the entire value chain should be considered, but it is within the upstream part of the fashion value chain that the most damaging processes occur and it is therefor the upstream part of the value chain that was focused on in this study. The size and price range of a company are characteristics that affects how a company may create successful CSR practices. The study also focused on the consumer perspective and the added value that CSR may bring. The study identified several perceived barriers and opportunities to CSR in medium-sized fashion companies within the moderate price range that may be important to consider in order creating successful CSR practices. Costs, quality assurance, communication and coordination where identified as important barriers. The study also identified that the added value of CSR to the brand and the increased consumer willingness to pay as important opportunities. The study found that cost-consciousness, quality assurance, communication and coordination and the added value perspective may be the most important aspects for medium-sized fashion companies in the moderate price range to focus on in the CSR work. By being aware of these barriers and opportunities, companies may create better CSR strategies, which focus on achieving the opportunities while avoiding the barriers.

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MA, Wing Man Karen. "Appropriateness in design." Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/1.

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When the term ‘design object’ is used to refer to artifacts, we presuppose that they can serve mundane functions and provide aesthetic pleasure. In many cases, the visual form of a design object is a result of achieving aesthetic function and practical function. What is the relation between these two functions? In the design process, designers also strike a balance between aesthetic pursuit, utilitarian purpose and other factors, such as environmental protection. What is the balance of these aims (aesthetic aim and the non-aesthetic aims)? My research on this topic suggests that it may be useful to conceive it in terms of appropriateness. The aim of this dissertation is to investigate the relation between aesthetic and non-aesthetic functions in design objects. Another, larger and more fundamental, purpose of this dissertation is to analyze the notion of appropriateness in design through the conceptions of aesthetic value and moral value. The findings of this research contribute to my argument that appropriateness as a property found in design objects is a balance of aesthetic value, functional value and moral value. This unique quality found in design object can be found in many successful universal designs, and it is also part of the reason why this style can prevail for decades. This research also brings two academic disciplines (the studies of design and aesthetics) together. It is something new and timely from which both disciplines could benefit. In addition, the discussion of Wucius Wong’s art, which is part of the analysis of the different functions of design objects, is an original finding which contributes a detailed understanding of Wong’s art and its relation with design concepts. The appropriateness of design is a decision after all things have been considered in the deliberation. It is not necessarily the best and it can be ever changing according to different situations. The investigation of this topic is not aimed at finding an ideal approach to achieve the appropriateness in design, but through the investigation of the relation between aesthetic function and non-aesthetic functions, and the relation of aesthetic value, functional value and moral value of design objects to contribute architects and designers in making an appropriate decision during the design process.

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Doagoo, B. Courtney. "The Use of Intellectual Property Laws and Social Norms by Independent Fashion Designers in Montreal and Toronto: An Empirical Study." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36062.

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Intellectual property law theory is premised on a utilitarian justification granting limited time monopolies for encouraging creation, innovation and its dissemination to society. However, in the last several decades, scholars have been mounting empirical evidence to show that in some industries, creativity and innovation exist outside the contours of intellectual property law and thrive despite their lack of reliance on the laws. Instead, what they uncovered is that creators in these industries follow norms that mitigate issues surrounding some kinds of copying. Intellectual property protection for fashion design in Canada is fragmented across a complex legal landscape that entails several different laws, unique in scope, eligibility requirements and rights. This complex framework is not unique to the fashion design industry but is similar for design industries generally. Navigating through these laws can be daunting and thus inaccessible for the some segments of the design industry that are small to medium sized enterprises (SMEs) that have limited resources to expend on legal advice and registration. Using grounded theory methodology and qualitative and quantitative methods, this research explored the use of intellectual property law and social norms by the independent fashion design segment in Montreal and in Toronto and the contours of copying and the public domain. What the empirical research reveals is that independent fashion designers do not use the law to protect their designs and instead, use mechanisms that centre on the negative copying norm. Negative copying is copying that is negatively perceived. It is not necessarily legally infringing or economically harmful, although it can be both. Further, it can apply to subject matter that is not the subject matter of intellectual property law. This norm against negative copying is supported by extra-legal prevention and enforcement mechanisms that have been developed by individuals within the segment in order to mitigate the issue of copying. The empirical research also reveals that in addition to the economic incentives to create, there are also a number of non-economic incentives such as identity and reputational interests that drive creativity and help reinforce the norm against negative copying. Using grounded theory enabled me to draw on literature from a number of disciplines in order to help contextualize these findings and approach the analysis from the perspective of intellectual property theory, policy and law, social norms (sociology and psychology) as well as economic geography, and design.

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LaCaze, Tray. "The Changing Face of Ralph Lauren's Advertising: A New Lifestyle Image and Increased Nudity." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2887/.

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Advertising, which is an important sales tool for brands to the masses, may produce lasting impressions of a company and its products. These impressions rely on a consistent message over time to maintain a brand's image. This study examines how Ralph Lauren's advertising images have changed from a country club lifestyle image to urban/hip. In addition, the study examines the increased use of nudity and sexual imagery in Lauren's advertising. The findings were obtained by content analyzing all Ralph Lauren advertisements appearing in Gentlemen's Quarterly magazine from 1980 to 2000 (N=283). The study finds that Ralph Lauren lifestyle images have become more urban/hip, and that Lauren's advertising is utilizing more nudity, sexual interaction, and homoerotic imagery. By examining Ralph Lauren's shifting brand image via its advertising, this study contributes to a greater understanding of the connection between advertising and a company's brand image.

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Botes, Herman. "Exploring critical citizenship and globalization discourse to conscientize industry expectations of design education at Universities of Technology." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96830.

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Thesis (MA)--Stellenbosch University, 2015. ENGLISH ABSTRACT: Design educators are expected to demonstrate a high level of confidence in the industry for which they are preparing students. When I reflected upon my own design industry and higher education experience while engaging with critical citizenship and globalization discourse, my confidence in and perceived authority of the design industry became challenged. I came to the realization that it could be useful to view the demands from the neoliberal design industry on design education through the lenses of critical citizenship and globalization. The insights gained from such an investigation could assist design educators involved in developing new design programmes to conscientize the expectations set by the design industry. It is argued that the conscientizing of expectations set by the design industry could be achieved by focusing on conscientizing design graduates that may in turn influence the design industry at large. The main aim of the study is to create a conceptual framework that supports theoretical concepts that could conscientize industry expectations of design education. The main research question thus questioned how critical citizenship and globalization discourse could be used to conscientize industry expectations of design education at Universities of Technology (UoTs). The objectives of the study are twofold: to identify, firstly, current industry expectations of design graduates from a University of Technology in South Africa and, secondly, to identify theoretical concepts in critical citizenship and globalization discourse that could be used to conscientize industry expectations of design education at UoTs in South Africa. Theoretical concepts in critical citizenship and globalization discourse were identified through a literature review; the identified concepts were used to develop a conceptual framework. The empirical section of the research design consisted of a case study that included industry interviews, alumni surveys and my own experience as the main sources of data. The theoretical concepts identified in the literature review of critical citizenship and globalization discourse were used to structure an inductive content analysis of empirical data collected to identify possible theoretical concepts that can be used to conscientize industry expectations of design education. The picture that emerges from this study creates a worrying image of a profession in crisis. I identified the urgent need to instil compassion into design education so that our alumni can intuitively act against situations where their dignity is under threat. This can be done by means of inclusion of critical citizenship and globalization discourse in curriculums of design programmes at UoTs. The theoretical concepts in critical citizenship and globalization discourse that can possibly be used to conscientize industry expectations of design education at UoTs are identified as: transformation, diversity, racism, social disparity, visual culture, civic identity, civic engagement, ethical relationships, shared participation, problemsolving, critical thinking, and imagination skills. I also conclude that the debate regarding the conscientizing of the design industry is of such importance that it should not be limited to only critical citizenship and globalization discourse ‒ the debate must go further and deeper. AFRIKAANSE OPSOMMING: Daar word van ontwerp-dosente verwag om 'n hoë vlak van vertroue te toon in die industrie waarvoor hul hul studente oplei. Terwyl ek sou meedoen aan die diskoers rondom kritiese burgerskap en globalisering, het ek besin oor my eie ervaringe rakende die ontwerp-industrie en hoër opvoeding en sou uiteindelik my vertroue in en vermeende inspraak sover dit die ontwerp-industrie aangaan, bevraagteken. Daar is tot die besef gekom dat dit voordelig kan wees om die eise wat die neoliberale ontwerp-industrie aan ontwerp-onderrig stel, te beskou vanuit die hoek van kritiese burgerskap en globalisering. Die insigte verwerf deur middel van so 'n ondersoek kan ontwerp-opvoedkundiges betrokke by die ontwikkeling van nuwe ontwerp-programme van diens wees in hul poging om die verwagtinge gestel deur die ontwerp-industrie sensitief te verskerp. Daar word aan die hand gedoen dat so 'n sensibilisering betreffende die verwagtinge gestel deur die ontwerp-industrie haalbaar is deur te fokus daarop om ontwerp-graduandi insgelyks te sensibiliseer en wat op sy beurt die ontwerp-industrie breedvoerig sal raak. Die hoofoogmerk van die studie is om 'n konsepsuele raamwerk daar te stel welke teoretiese konsepte ondersteun wat 'n sensitiewe bewussyn kan kweek sover dit industrie-verwagtinge rakende ontwerp-onderrig aangaan. As sodanig het die hoofnavorsingsprobleem dus gevra na hoe die diskoers rondom kritiese burgerskap en globalisering aangewend kan word om industrie-verwagtinge insake ontwerponderrig by Universiteite vir Tegnologie (UvT's) te sensibiliseer. Die oogmerk van hierdie studie is tweevoudig: om, eerstens, huidige industrie-verwagtinge rakende ontwerp-graduandi van 'n UvT in Suid-Afrika te identifiseer en, tweedens, om teoretiese konsepte rakende die diskoers rondom kritiese burgerskap en globalisering te identifiseer wat aangewend kan word om industrie-verwagtinge rakende ontwerp-onderrig by UvT's in Suid-Afrika sensitief te verskerp. Teoretiese konsepte in die diskoers rondom kritiese burgerskap en globalisering is geïdentifiseer deur middel van 'n literatuuroorsig; die geïdentifiseerde konsepte is naamlik aangewend om 'n konsepsuele raamwerk te ontwikkel. Die empiriese afdeling van die navorsingsontwerp het bestaan uit 'n gevallestudie wat onderhoude in die industrie, opnames onder alumni asook my eie ervaringe rakende die ontwerp-industrie as hoofbronne van data ingesluit het. Die teoretiese konsepte geïdentifiseer as deel van die literatuuroorsig rakende die diskoers rondom kritiese burgerskap en globalisering is aangewend om struktuur te verleen aan 'n induktiewe inhoudsanalise van empiriese data versamel om moontlike teoretiese konsepte te identifiseer wat aangewend kan word om industrie-verwagtinge rakende ontwerponderrig te sensibiliseer. Die beeld wat deur hierdie navorsing geskets is, skep 'n onrusbarende beeld van 'n professie wat 'n krisis deurmaak. Ek het die dringende behoefte geïdentifiseer om toegeneentheid en deernis by te bring in ontwerp-onderrig sodat ons alumni intuïtief kan optree in gevalle waar hul menswaardigheid in die gedrang sou kom. Dit kan bereik word deur die insluiting van kritiese burgerskaps- en globaliseringsdiskoerse in die kurrikulums van ontwerp-programme by UvT's. Die teoretiese konsepte in die diskoers rondom kritiese burgerskap en globalisering wat moontlik aangewend kan word om industrie-verwagtinge rakende ontwerponderrig by UvT's te sensibiliseer, is geïdentifiseer as: transformasie, diversiteit, rasisme, sosiale ongelykheid, visuele kultuur, burgerlike identiteit, burgerlike verpligtinge, etiese verbintenisse, deelgenootskap, probleemoplossing, kritiese denke asook vaardighede met betrekking tot die inspan van die verbeelding. Daar is voorts tot die slotsom geraak dat die debat rondom die kweek van 'n sensitiewe bewussyn in die ontwerp-industrie van sodanige belang is dat dit nie beperk behoort te word tot alleen die diskoers rondom kritiese burgerskap en globalisering nie ‒ die debat móét eenvoudig verder en meer indringend gevoer word.

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Piccolo, Lara Schibelsky Godoy 1977. "Motivational aspects in the design of technology for social changes = Aspectos motivacionais no design de tecnologia para mudanças sociais." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275540.

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Orientador: Maria Cecília Calani Baranauskas Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Computação Made available in DSpace on 2018-08-26T21:24:50Z (GMT). No. of bitstreams: 1 Piccolo_LaraSchibelskyGodoy_D.pdf: 12553498 bytes, checksum: 5ee94e1c70ca11d1475031685986a445 (MD5) Previous issue date: 2015 Resumo: Conectando pessoas e presente em todos os aspectos da vida, quando projetadas para este fim, as tecnologias têm potencial de influenciar a forma com que pessoas em um grupo social percebem e se relacionam com as coisas no ambiente. Este estudo de doutorado em Interação Humano-Computador (IHC) investiga como elementos motivacionais da Psicologia podem ser aplicados para informar o design, explo- rando esse potencial da tecnologia em promover mudanças sociais. O estudo é instanciado no domínio de consumo de energia elétrica, lidando com o desafio contemporâneo de cons- cientizar a sociedade dos limites naturais do planeta no que diz respeito ao uso de recursos naturais. Informar o design com aspectos motivacionais é uma abordagem recente em IHC. Quando encontrada na literatura, comumente tem foco em aspectos individuais e intrín- secos da motivação. Contudo, como argumentado nessa pesquisa, o contexto sociocultural evidencia a importância de considerar também os fatores externos que motivam as pessoas a se engajarem com uma tecnologia e com uma determinada questão social. Por considerar tanto fontes intrínsecas quanto extrínsecas de motivação, a Teoria da Autodeterminação é então considerada o principal referencial teórico da Psicologia nessa investigação, e a Semiótica Organizacional é a base metodológica para analisar os elemen- tos socioculturais que influenciam a motivação extrínseca. A análise situada dos dados socioculturais por uma perspectiva motivacional levou ao design da Tecnologia Socialmente Informada para Eco-Feedback de Energia (sigla SEET, em inglês), uma arquitetura que tem por objetivo estabelecer um novo padrão de com- portamento, ou uma nova maneira de perceber o consumo de energia coletivamente. O SEET é composto por um sistema interativo que promove colaboração, e pela Árvore da Energia, um dispositivo de feedback tangível para locais onde há encontro de pessoas. O SEET é avaliado em dois cenários complementares: uma Escola de Ensino Funda- mental no Brasil, onde os dados socioculturais foram coletados, analisados e aplicados para informar o design; e no contexto de um departamento de uma universidade no Reino Unido. Aspectos motivacionais da arquitetura do SEET são então analisadas, assim como o impacto dessa tecnologia ao desencadear as esperadas mudanças sociais Abstract: By connecting people and being present in almost all aspects of life, when properly de- signed for that, technology can potentially influence the way people in a social group perceive and relate with things in their environment. This PhD study in the Human-Computer Interaction (HCI) field investigates how motivational elements from Psychology can be applied to inform the design aiming at exploring this potential of technology for promoting a social change. The study is in- stantiated in the energy consumption domain, coping with the contemporary challenge of raising awareness among the society of the planet¿s natural resources usage and limits. Informing the design with motivational aspects is a recent approach in HCI. When found in literature, it is mostly focused on individual and intrinsic aspects of motivation. However, as argued in this research, the sociocultural context evidences the importance of considering also the external factors that motivate people to be engaged with technology and the social issue. By taking into account both intrinsic and extrinsic sources of motivation, the Self- Determination Theory is then considered the main theoretical background from Psychol- ogy in this investigation, and the Organisational Semiotics the methodological basis to analyse sociocultural elements that influence extrinsic motivation. The situated analysis of sociocultural data with motivational lenses has led to the de- sign of a Socially-informed Energy Eco-feedback Technology (SEET), an architecture that aims at establishing a "new pattern of behaviour", or a new way of perceiving collective energy consumption. The SEET is composed by an interactive system that promotes collaboration and The Energy Tree, a tangible and public feedback device for gathering places. The SEET is evaluated in two complementary scenarios: an elementary school in Brazil, where the sociocultural data was collected, analysed and applied to inform design; and in the context of an university department in the United Kingdom. Motivational as- pects of the SEET architecture are then analysed, as well as the impact of this technology to trigger the desired social change Doutorado Ciência da Computação Doutora em Ciência da Computação

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Goldsmith, David. "Local Fashionalities : Växbo Lin and WomenWeave." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3713.

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Global Fashion, via the logic of high-speed, large-scale industrial production and anachronistic high-volume consumption habits, causes significant social and environmental damage. Local Fashion isunderstood as part of the Slow Fashion movement that aims to change the functions of fashion so that they support or lead the quest to flourish within known human and planetary boundaries.This Licentiate thesis examines, through an exploratory narrative based on new and existing research, two Local Fashionalities. Växbo Lin is a small linen manufacturer/brand in Hälsingland, Sweden, producing new heritage home textiles. WomenWeave is a handloom social enterprise inMadhya Pradesh, India, making naya khadi. Their approaches and practices are presented and discussed vis-à-vis notions of “globality”, “locality”, design management, and the quest for sustainability.The narrative aims to improve understandings of what Local Fashion is, and contribute to the effort to design new fashion systems grounded in logic relevant to contemporary human needs and aspirations.

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Tam, Wai-man, and 譚偉文. "Market force and urban design: a case study of Wanchai District." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40687272.

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Scopinho, Carlos Eduardo Dezan. "A sociologia da moda na telenovela Avenida Brasil." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-15122014-163239/.

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A temática deste estudo tem como investigação a sociologia da moda a partir da telenovela brasileira Avenida Brasil, que pode ser considerada um estudo de caso onde demonstra a forma de consumo das camadas periféricas da sociedade. A Moda tem sido alvo de reflexões e estudos de alguns filósofos, economistas, sociólogos e psicólogos durante os últimos três séculos. As contribuições da sociologia para o estudo da moda podem ser divididas em dois períodos: o primeiro a partir do final do século XIX à primeira metade do século XX, onde autores como Spencer, Simmel, Tarde e Veblen, publicaram livros e ensaios que contêm esclarecedoras hipóteses deste fenômeno social complexo. O segundo período estende-se desde os anos cinquenta do século passado até os dias atuais e apresentam trabalhos de estudiosos que ao lado de observações intuitivas também contêm pesquisas sobre o fenômeno da moda. Esta pesquisa visa traçar argumentos sobre o fenômeno da moda a partir de alguns filósofos conhecidos (de Kant a Rousseau, de Nietzsche a Benjamin) e na área da sociologia igualmente considerados (de Tarde para Blumer, Baudrillard Spencer, Simmel e Crane). Uma antologia que parte também, de alguns textos traduzidos pela primeira vez do italiano, oferecendo uma visão das teorias sociológicas sobre a difusão da moda e suas características fundamentais The theme of this study is to research the sociology of fashion from Avenue Brazil Brazilian soap opera, which can be considered a case study which demonstrates how to use the peripheral layers of society. The fashion has been the subject of studies and reflections of some philosophers, economists, sociologists and psychologists over the last three centuries. The contributions of sociology to the study of fashion can be divided into two periods: the first from the late nineteenth century to the first half of the twentieth century, where authors like Spencer, Simmel, Tarde and Veblen, published books and essays containing enlightening hypotheses of this complex social phenomenon. The second period extends from the fifties of the last century to the present day and present works of scholars who with intuitive observations to also contain research on the phenomenon of fashion. This research aims to outline arguments about the phenomenon of fashion from some well-known philosophers (Kant to Rousseau, Nietzsche Benjamin) and in sociology also considered (Afternoon to Blumer, Baudrillard Spencer, Simmel and Crane). An anthology that also part of some translated for the first time the Italian texts, offering a vision of sociological theories on the diffusion of fashion and its key features

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Giles, Andrew. "Exploring the Social, Environmental and Economic Aspects of Trail Surfacing Decisions." Thesis, University of Waterloo, 2002. http://hdl.handle.net/10012/964.

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Visitor activities in parks often have a heavy impact on the soil, vegetation, water and wildlife. In front country areas, the most extreme damage is concentrated on and adjacent to recreational trails. Aside from controlling the numbers, activities and behaviours of trail users, managers may choose to make trails more resistant to impact through surfacing. Unfortunately, surfacing may have negative influences on park visitors' enjoyment of trails by limiting access or detracting from the primitive setting. In addition, some surfaces may be ineffective in certain environmental conditions such as wet ground or steep slopes. Finally, the wide variety in construction and maintenance costs may make some surface types economically unfeasible. The goals of this research are to investigate the role of trail surfacing in the management of impacts from outdoor recreation; to develop better understanding of the social, economic and environmental aspects of trail surfacing decisions; and to explore a comprehensive framework for incorporating these three factors in trail management. It is hoped that this research can assist park managers in selecting surfacing options to reduce visitor impact without excessively compromising recreational experience or organizational limitations, such as financial resources. In addition to a comprehensive review of literature on visitor impact management on trails and surfacing techniques, this research employs three methods to further investigate the social, environmental and economic aspects of trail surfacing: a trail user survey, manager survey and trail condition assessment. The trail user survey was conducted at two well-used natural areas in southwestern Ontario, Canada: Presqu'ile Provincial Park and Belfountain Conservation Area. Surveys at each area explored trail users' perceptions and preferences of trail surfacing techniques in late summer 1999. The managers' survey provided insight into organizational approaches to surfacing, including construction cost and observations on recreational or environmental effectiveness. Finally, the trail condition assessment explored an approach to determining environmental effectiveness of trail surfacing techniques, but was limited by the physical and recreational variation between trails. Seven recommendations for trail managers are presented, tying in several conceptual frameworks of visitor impact management and trail surfacing decisions developed in the thesis. First, trail managers are recommended to develop a full understanding of trail design principles and alternative visitor impact management techniques. If surfacing is selected as the best impact management technique, trail managers should obtain as much information on user characteristics, environmental conditions and organizational limitations as possible. Despite the benefits and drawbacks for all surfaces, road base gravel (or angular screenings with fines) merits special attention as an excellent surface, while asphalt and concrete are not recommended for front country, semi-primitive recreation. Finally, trail managers are encouraged to share information on surfacing more freely and open surfacing decision processes to affected trail users. Overall, trail managers are provided with an approach to surfacing decisions that considers the social, environmental and economic aspects of trail surfacing, with the goal of working toward more enjoyable, environmentally responsible and cost-effective trail solutions.

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Ghidoni, Amanda. "Att lägga märke till ett varumärke." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22461.

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The project aims to explore how strong brands are built and what they consist of. I will focus on the subject fashion magazine, ambassadors and the different parts that a magazine consists of. Based on the information from research and literature I’m re-designing the Swedish fashion magazine Solo.

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Bailie, Brian Jacob-Paul. "Everquest, reality, and postmodern theories of community." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3254.

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EverQuest is a multiplayer online role playing game that serves as a practical incarnation of life as a cyborg in a posthuman community. Using cultural materialsim, this thesis demonstrates how the words of EverQuest interactants - from message boards, interviews, and player in-game communications - construct the world of EverQuest and the roles of the interactants as its citizens. More specifically, this thesis will argue that the EverQuest world serves to reify the ideas of consumer capitalism that informs the "real" world, even as EverQuest itself promises an escape from that world.

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Bukamur, Said Mohamed 1948. "DESIGN GUIDELINES FOR HOUSING IN LIBYA BASED ON CLIMATIC AND SOCIAL CRITERIA." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275300.

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Evenhuis, Nanette. "Bekende gebeurtenisse as oorredingsmeganismes in advertensietekste." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50288.

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Thesis (MPhil)--Stellenbosch University, 2005. ENGLISH ABSTRACT: The Olympic games as world known sports event has been used in many advertisements by companies to sell their products. Many South Africans are motivated through effective marketing to buy a certain product or have a positive attitude towards a certain company, for the pure reason that the marketing campaign had the Olympic games as theme. I looked into this interesting phenomenon! AFRIKAANSE OPSOMMING: Die Olimpiese Spele as bekende gebeurtenis is in talle oorredingstekste, spesifiek advertensies, om hul produkte meer markbaar te maak. Talle Suid-Afrikaners word oorreed/aangespoor en as't ware geflous om iets te koop often gunste van 'n sekere maatskappy te wees slegs omdat sy/haar bemarking reg is. Ek doen ondersoek hierin en kyk na die interessante aspek van 'n bekende sportbyeenkoms (soos die Olimpiese Spele) in advertensietekste.

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Lima, Verena Ferreira Tidei de. "O prolongamento da vida útil do vestuário de moda como alternativa para a redução de seu impacto socioambiental." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-17102014-122552/.

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Atualmente, o excesso de produção, consumo e descarte de vestuário de moda - e o ritmo acelerado e contínuo como isso acontece - resulta em um impacto socioambiental de proporções consideráveis. Neste contexto, o presente trabalho buscou discutir possíveis requisitos projetuais para o design de vestuário de moda orientados à redução de seu impacto socioambiental, com ênfase no prolongamento da vida útil do vestuário de moda e consequentemente na alteração da dinâmica do ciclo de vida desses produtos. Para tanto, foi necessário compreender e estudar a relação entre o design e a sustentabilidade, identificar os impactos socioambientais do vestuário de moda, elencar os aspectos projetáveis do vestuário de moda que influenciam o consumidor em relação ao produto, e assimilar a opinião do consumidor a respeito da relação entre o vestuário de moda e a sustentabilidade. A partir de uma revisão de literatura e de uma pesquisa exploratória, foi possível inferir que o prolongamento da vida útil do vestuário de moda, ao alterar a dinâmica do ciclo de vida desses produtos, desacelerar o ritmo de sua produção, seu consumo e seu descarte, configurando-se como uma alternativa para a redução de seu impacto socioambiental. Currently, the excess of production, consumption and disposal of fashion clothing - and the accelerated and continuous rhythm as it happens - results in a social and environmental impact of considerable proportions. This work aimed to discuss possible projectual requirements for the fashion clothing design geared to reducing its social and environmental impact, with emphasis on the lifetime extension of fashion clothing and consequently on change of life cycle dynamics of these products. In order to reach this aim, it was necessary to understand and to study the relation between design and sustainability, to identify the social and environmental impacts of fashion clothing, to list the projectable aspects of fashion clothing that influence the consumer respecting the product, and to assimilate the consumer opinion about fashion clothing and sustainability. From a literature review and an exploratory research, it was possible to infer that the lifetime extension of fashion clothing, in changing the lifecycle dynamics of these products, decelerates the rhythm of its production, its consumption and its disposal, setting up as an alternative for reducing its social and environmental impact.

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Bizzarri, André, and Gustaf Gröning. "Design och teknisk skuld i relationsdatabaser : En utvärdering av konsekvenserna av design och teknisk skuld i en driftsatt relationsdatabas." Thesis, Uppsala universitet, Institutionen för informatik och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-437213.

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I denna studie utvärderas designen i en befintlig databas som ska migreras från en lokal databashanterare till en molnbaserad lösning. Inför denna migrering har databasens normalisering och design varit ett föremål för diskussioner. Studien utreder vilka konsekvenser normalisering och design i relationsdatabaser har i en verksamhet. Studien presenterar teorin om normalisering i relationsdatabaser samt teknisk skuld. Som en del av studien testas och utvärderas en prototyp av en databas som antas vara normaliserad, ha god design och möta de behov som verksamheten har. Studien finner att teknisk skuld i databaser är tidskrävande, gör databaser opålitliga samt medför bristande kompatibilitet med andra artefakter.

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CASTRO, GABRIELA VARANDA DE. "INTERIOR DESIGN AND CONSUMPTION: THE PERCEPTION OF THE SOCIAL AND ENVIRONMENTAL ASPECTS IN FURNITURE AND DECORATIVE OBJECTS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13338@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO Todo projeto de design que promete mudanças deve, afinal, comunicar-se de uma maneira eficiente com seu público. E todo projeto sustentável deve tornar clara a sua sugestão de transformação da sociedade. Mais que modelar formas e funções, designers criam idéias e propostas, que seus consumidores ou usuários finais percebem ou não. Portanto, esse novo valor simbólico conferido pelo design, aqui neste trabalho chamado de valor sustentável, deve ser visto como uma oportunidade para comunicar uma idéia, uma proposta de mudança social e cultural, que precisa ser percebida, do ponto de vista do consumo. Para verificar como produtos de design sustentável se comunicam com seu público, esta dissertação apresenta uma pesquisa bibliográfica e um trabalho de campo realizado junto a um grupo de trinta consumidores de móveis e objetos decorativos, de três lojas de decoração da cidade do Rio de Janeiro. Uma pesquisa qualitativa, composta de uma entrevista em profundidade, e uma pesquisa quantitativa, utilizando a técnica da análise conjunta, foram aplicadas junto aos consumidores, para avaliar a percepção do valor sustentável em peças decorativas e verificar sua eficiência como agente transformador e facilitador de mudanças. Every design project that promises changes must, after all, establish an efficient communication with their public. And all sustainable projects should make clear their suggestion of transformation of the society. More than modeling forms and functions, designers create ideas and proposals, which their customers or end users perceive or not. Therefore, this new symbolic value given by design, here in this paper called sustainable value, should be seen as an opportunity to communicate an idea, a proposal of cultural and social change, which needs to be perceived, in terms of consumption. To verify how products of sustainable design communicate with their public, this dissertation presents a bibliographical research and a field research carried out among a group of thirty consumers of furniture and decorative objects, from three decoration stores of the city of Rio de Janeiro. A qualitative research, consisting of an in-depth interview, and a quantitative research, using the conjoint analysis technique, were applied to consumers, to assess the perception of the sustainable value in decorative pieces and verify its effectiveness as a transforming agent and changes facilitator.

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Gehrold, Tatjana Sophie. "A THEORETICAL FRAMEWORK FOR SUSTAINABLE PRODUCT DESIGN IN THE TEXTILE AND FASHION INDUSTRY : Based on Ted’s 10 & UN Sustainable Development Goals." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-23515.

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Purpose The purpose of this thesis is to develop a theoretical framework for sustainable product design, targeting aesthetic design elements, as part of product development by applying the Ted’s 10 methodology for textile environment and the UN Sustainable Development Goals. Design/Methodology/approach The thesis follows a deductive and inductive multi – method approach. A systematic literature review gives insights into existing literature on product design; the interviews with two experts evaluate the theoretical framework based on the UN Sustainable Development Goals and the implications and applicability of findings in practice. Findings It is found that, in comparison to the UN Sustainable Development Goals, the aesthetic design elements in product design from literature have no clear guidelines to restrict environmentally unsustainable practices/ decisions, apart from EU regulations. The theoretical framework, which is built on these gaps by applying the Ted’s 10 design methodology, shows suggestions concerning the aesthetic design elements, which have the possibility to reduce the need to consume, chemical impact, waste, and energy and water consumption. Two expert interviews validate the theoretical framework and discuss implications and applicability. Originality/value It is stated that product design, especially the aesthetic design elements, have a major impact on the environmental sustainability of the final product. Therefore, decision making regarding these elements have the potential to greatly reduce the environmental impact. Moreover, the analysis of the Ted’s 10 may contribute to the realization of several UN Sustainable Development Goals. It could communicate the positive environmental impact textile and fashion designers and businesses can have when applying the Ted’s 10.

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Lee, Michael P. "EXPLORING ILLUSIONS OF HEIGHT IN SUIT DESIGN." UKnowledge, 2018. https://uknowledge.uky.edu/psychology_etds/134.

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Objective: The goal of this research was to explore how the design of clothing, specifically the design of the suit, can create height illusions. Background: Taller people enjoy many advantages, such as increased income and perceived attractiveness. These advantages motivate people to try to appear taller than they actually are, and clothing experts provide advice on how to accomplish this. However, there is little empirical evidence to validate the illusory effects clothing might have on overall height perception. The few studies that have explored illusions of body size created by clothing design have been limited in two important ways – the test stimuli have included unnatural body shapes and have failed to include naturalistic context (i.e., surrounding depth and size cues available in real scenes). Method: In the first phase, participants (nonexperts in clothing design) provided suggestions for how to appear taller by changing clothes. In the second phase, participants 1) viewed photographs of a variety of targets wearing suit designs that are commonly believed to manipulate viewers’ perceptions of height, 2) rated the targets on traits associated with height such as income and attractiveness, and 3) estimated the heights of these individuals. This study focused on the potential effects of suit color, specifically overall lightness (light vs. dark) and monochromaticity (monochromatic vs. lightness blocking). The effects of these designs were tested with and without contextual information by presenting targets within a natural streetscape or on a white background. Results: In the first phase, we found that nonexperts provided similar suggestions as experts in clothing design, including those pertaining to monochromaticity and lightness. In the second phase, we found that estimates were more accurate with more contextual information, and that clothing can impact height estimations, where monochromatic outfits yielded taller height estimates, although other outfit comparisons did not have effects. Outfits overall did not impact ratings such as income and attractiveness, although estimated height did correlate with these same social attributes. In an exploration of the impact of contextual and target-specific cues other than clothing on height estimations, we found that height perception was potentially dependent on a variety of factors such as the target's race, location (indoors vs. outdoors), stance, and the presence of nearby people. Scientific merit: This study increased our understanding of the conditions under which illusions of size in simple geometric stimuli generalize to the manipulation of size perception in real-world scenes. Broader impact: A better understanding of biases in height perception is relevant to domains in which such estimates are used to identify individuals (e.g., criminal justice) as well as domains in which visual characteristics of individuals are associated with errors in judgments of performance-based merit. (e.g., personnel selection and promotion).

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Allansson, Linda. "A quest to unravel the secrets of gender inclusive game design : A qualitative study on the design process of female protagonists." Thesis, Örebro universitet, Handelshögskolan vid Örebro Universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-72616.

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Ertelt, Sophie-Marie, Ecaterina Guzun, and Mirja Scott. "From Product to Service : Developing and testing a retail PSS utilising direct to garment printing tocustomise fashion garments." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-15308.

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Background - Consumer individualisation is a growing challenge in the fashion industry, yet it is also an area of great potential as well as a way to dampen over-consumption. The potential lays in how fashion brands can find ways to steer consumption towards a circular economy and utilise their platform to create meaningful connections with its consumers. Today the fashion industry is looking at options to the traditional take-make-dispose model where non-renewable resources are used at an ever-increasing rate. The Swedish fashion retailer Monki together with Re:textile decided to investigate if servitization could turn the above mentioned linear model into a more sustainable, circular model. They set out to develop an in-store concept where customers could customise their garments instantaneously and this formed the basis of a project brief and a Business Model Canvas which both served as the foundation and starting point of the presented research. Purpose - The purpose of the research is to develop and test a product extension service business model that utilises a direct to garment printer to mass customise jeans in-store. The said purpose is divided into three perspectives: the design-, service provider - and customer perspective , covering four cornerstones of the Business Model Canvas. The different perspectives with their separate, but related, research questions will be unified again in the conclusion. Methodology - To fulfill the purpose, the thesis research is relying on abductive reasoning through systematic combining, while implementing a mixed methods approach. Systematic combining works well in extensive and diversified research where the researchers shift from one type of research activity to another in a quest to match empirical observations with theory, thus, the ultimate objective of systematic combining is matching theory with reality until both come close enough to form a functional outcome. Throughout the study, both qualitative and quantitative studies are conducted through action research, a customer case study as well as experimental research in order to fulfill the purpose of the thesis. Findings and Discussion - The conclusions and recommendations that are presented in the form of an updated Business Model Canvas all derive from the research conducted incorporating the three perspectives that have guided the thesis through all of its stages namely the design, service provider and customer perspective. A product service extension business model is proposed as a solution to the project brief that serves as a foundation for the research. The results of the research all point to the conclusion that it is indeed possible to implement the product service extension successfully. Tests relating to the customer as well as the service provider perspective have proven themselves implementable due to low overall printing costs and fast print time enhancing the customer shopping experience. Together with an indication of product satisfaction as well as creating a strong customer-product connection through the co-design experience it contributes to a circular economy. Furthermore, the overall consistent printing costs, as well as the insignificant time differences in the experiments total time, support the implementation of a PSS in a retail setting. Research Limitations - This research is confined to, and based on, the Monki and Re:textilebrief as well as a Business Model Canvas so therefore, no other ideas than the ones stated in the brief have been explored. The research´s inferences are limited to the given conditions as well as a laboratory setting. Further, the experimental research study will only test pocket shaped artwork on 100 percent cotton denim jeans using a Brother GTX 4 printer as a chosen direct to garment printer. The scope of the customer case study can be described as surveying as well as observing 40 of the visitors of the 2018 Fashion days and Exit at the Swedish School of Textiles while they test the proposed PSS in a mock-up retail store setting without an actual sales transaction. Further Research - The next logical step would be to run the tests in a real-life retail store as opposed to the laboratory setting. After the proposed product service extension is implemented at scale POS data could be gathered in order to establish the customers’ true willingness to participate in the customisation experience in-store. Additionally, a longitudinal continuation of the study would give answers to some of the indications arising from the case study, such as whether the mass customisation could truly serve as a brand strengthening activity or lead to an extended garment lifecycle in reality.

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Barber, Richard Henry 1942. "Arroyo Chico: The effects of design and management on the biological and social aspects of an urban wash." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278512.

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Arroyo Chico Wash, an important drainage for central Tucson, Arizona, runs through numerous neighborhood and industrial areas before emptying into the Santa Cruz River. Within four suburban neighborhoods along the wash, direct observations, personal interviews, survey questions, and historical documents are used to describe design and management influences on the biological and human aspects of the wash. Plants along the wash are identified by 2-meter wide belt transects run at 100-meter intervals over the 4 kilometer length of the study area. Wild animal and bird lists are based on observation and information given by residents. Relationships between design, maintenance and neighborhood attitudes toward the wash are assessed using a survey questionnaire given to people living adjacent to the wash. Results show the wash in the Colonia Solana neighborhood has the greatest biological diversity, highest neighborhood satisfaction and highest recreational use. In neighborhoods where the wash is a "backyard easement", satisfaction and use are the lowest.

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