Thèses sur le sujet « 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.
CHATTARAMAN, VEENA. « POST-MODERN FASHION IN INDIA ». University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029263840.
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.
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
Morales, Marina Única Diaz [UNESP]. « Design de moda : o caminho para a sustentabilidade ». Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/89764.
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.
Morales, Marina Única Diaz. « Design de moda : o caminho para a sustentabilidade / ». Bauru : [s.l.], 2006. http://hdl.handle.net/11449/89764.
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
Patrick, Adele. « A taste for excess : disdained and dissident forms of fashioning femininity ». Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/2012.
謝浩麟 et 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.
published_or_final_version
Sociology
Doctoral
Doctor of Philosophy
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.
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.
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.
Program: Magisterutbildning i Fashion Management
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.
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.
LI, YANZI, et 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.
Program: Master Programme in Fashion Management
Bill, Amanda Elizabeth. « Creative girls : fashion design education and governmentality ». Thesis, University of Auckland, 2009. http://hdl.handle.net/2292/4234.
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.
Corvera, Madeleine, et 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.
Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing
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/.
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
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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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.
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/.
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.
Program: Master programme in Fashion Management
Michetti, Miqueli 1982. « Moda brasileira e mundialização = mercado mundial e trocas simbólicas ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280865.
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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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
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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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
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.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND DEWEY.
Bibliography: leaves 91-97.
by James C. Foster.
M.S.
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/.
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.
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.
Stwodah, Hawa. « ADORNMENT AND MODESTY A Symbiotic Relationship between Surface Design and Social Behavior ». VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4115.
Moore, Patricia Lee. « Reader/viewer response to the rhetoric of costume ». CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/570.
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/.
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.
Bianchi, Michelle, et 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.
MA, Wing Man Karen. « Appropriateness in design ». Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/1.
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.
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/.
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.
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.
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.
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Computação
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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
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.
Tam, Wai-man, et 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.
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/.
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
Giles, Andrew. « Exploring the Social, Environmental and Economic Aspects of Trail Surfacing Decisions ». Thesis, University of Waterloo, 2002. http://hdl.handle.net/10012/964.
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.
Bailie, Brian Jacob-Paul. « Everquest, reality, and postmodern theories of community ». CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3254.
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.
Evenhuis, Nanette. « Bekende gebeurtenisse as oorredingsmeganismes in advertensietekste ». Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50288.
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.
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/.
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.
Bizzarri, André, et 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.
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.
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.
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.
Lee, Michael P. « EXPLORING ILLUSIONS OF HEIGHT IN SUIT DESIGN ». UKnowledge, 2018. https://uknowledge.uky.edu/psychology_etds/134.
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.
Ertelt, Sophie-Marie, Ecaterina Guzun et 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.
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.