Dissertations / Theses on the topic 'Clothing construction'

Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010
Children grow at fast rates. Due to this fact, parents constantly need to purchase new clothes as children out grow their clothes before it becomes fully worn. Parents spend thousands each year on children's clothing only to have them disposed of before it has reached its maximum wear ability. The purpose of this research is to analyse children's growth pattems and investigate means of increasing the lifespan! wear ability of children's clothing. The practise of increasing the lifespan! wear ability of clothing lends itself to the Sustainable Design paradigm that encourages designers to create products (garments) with longer lifecycles and discourages waste at every stage of the products lifespan. The process of "tossing out" clothes or not wearing it to its maximum utilization creates waste and fuels mass consumption.As a result masses of clothing end up in landfills and due to its mainly synthetic nature, it causes harm to the environment. By incorporating innovative design and construction techniques I aim to explore methods of adjusting garments according to the growth experienced by children annually. This will allow children to wear the garments for a longer period eliminating the need for parents to purchase new clothing when the clothes no longer fit.

British fashion is poised amidst a clutch of conflicting narratives, representations and ideologies. Through an examination of these rival encounters and the events that have gone to generate them, this thesis gives an insight into the culture of contemporary fashion, its dilemmas and the industry it supports. In particular, my discussion looks at the relationship between fashion and national identity. It posits fashion as a site central both to the re-branding of Britain and also to contestations over British identity itself, including the gendering of Britishness and its class relations. Using the cases of two iconic British fashion companies, Paul Smith Ltd and Mulberry Plc, I explore how the apparently straightforward and economically driven process of the globalisation of British fashion is, in fact, a far more culturally nuanced and locally embedded encounter than has previously been suggested. I unpack the different ways in which Paul Smith and Mulberry go about negotiating and sometimes even shaping and mobilising a sense of nationness in what is a rapidly globalising commercial marketplace. For in spite of their shared iconic national status both companies go about generating and deploying their self-confessed British character in exceedingly different ways. It is through an exploration of Paul Smith and Mulberry's contrasting corporate strategies, symbolic production techniques and product profiles that I investigate the different meanings afforded by the term Britishness. Indeed the thesis contends that, in the arena of fashion, Britishness is characterised less through some distinct essence or by a particular 'look' and more through its 'narratives of ambiguity'. In turn, it suggests that an understanding of these narratives goes some way in problematising and disrupting commonly imagined notions of Britishness borne out of Anglo-centric, androcentric and bourgeois tradition and, still further, it looks at how such notions might be re-worked in more multiple and complex ways.

The purpose of this study is to explore how Rhodes University (RU) students construct identity through the symbolic consumption of luxury branded clothing and the role played by reference groups in the consumption behaviour. The study employed the Social Identity Theory (SIT) as a theoretical framework which explains the underpinnings of the cognitions and behaviour with the use of group processes (Trepte, 2006). The central principle of SIT lies in individuals classifying themselves and others into in-group (reference groups) and out-group social categories respectively. There has been a gap in the literature pertaining to a full understanding of the identity construction process through symbolic consumption of luxury brands in South Africa (Reed, 2002). The significance of the study is to provide a foundation for an enhanced theory of consumer behaviour in this context. This study employed a qualitative research approach. A non-probability convenience sampling technique was used, and a total of 12 undergraduate and postgraduate students were interviewed. The chosen data collection method was semi-structured in-depth interviews and data were analysed using thematic analysis. The findings of the study revealed that participants consume luxury branded clothing for both functional and symbolic purposes. Various factors emerged that influence the choice of the symbolic consumption behaviour such as income, buying frequency, spending patterns, perceptions and habits around retail shopping and the shopping experience. In addition, results indicated that reference groups (celebrities, family and peers) play a significant role in the symbolic consumption and construction of identity among the participants. In addition, the results also indicated that the RU participants engaged in a ‘save to spend’ technique whereby they save their pocket money so that they spend it on their favourite luxury branded clothing when they leave for the holidays. There was a common reference group that emerged from the study, namely the peer in-group. The influence of reference groups on youth consumers in South Africa may assist with marketing strategies that can be employed when targeting the Generation Y. Additionally, results indicate that luxury branded clothing have an impact on identity construction within the South African context. The respondents tie their identity to their luxury branded clothing as an indication of ‘who they are’ and as an extension of the ‘self’.

Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at Cape Peninsula University of Technology
This study highlights the preliminary findings of an investigation into ergonomic considerations in the design of women’s protective clothing. The study investigates the validity of an assumption that there is a dearth in the product offerings of women’s protective wear that are ergonomically designed with a good fit, and offer acceptable levels of comfort for women performing outdoors in the construction industry. The research employs a qualitative research method – including interviews with key actors such as women working in the construction industry, and manufacturers. Pertinent psychological and physiological factors relating to the current protective wear are also interrogated herein. For example, the unique morphological features associated with steatopygia and gynaeoid body types are common in the sub-region, and yet not fully accommodated in the design of contextresponsive work wear. The prevailing attitudes among selected manufacturers and suppliers to motivate them to offer superior products for women in the construction industry are explored. A higher adoption rate of the redesigned women’s protective wear could correlate to reductions in downtime associated with general occupational health and safety issues; as well as an impact of low levels of comfort, protection and garment fit. Similarly, the redesigned garments could inform the development of improved protective wear for women, and ultimately facilitate higher productivity in the work environment. Subsequently, a boosted self-confidence and higher levels of motivation occasioned by a positive body image of women workers would validate the efficacy of the intended ergonomic design intervention. Lastly, the thesis discusses sociotechnical strategies for generating high fidelity data for applications in new product development for women’s protective wear. Furthermore, the findings and recommendations are discussed herein; this is made possible by the data collected.

Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?

Since the establishment of the first European fashion houses in the nineteenth century the male wardrobe has been continually appropriated by the fashion industry to the extent that every masculine garment has made its appearance in the female wardrobe. For the womenswear designer, menswear’s generic shapes are easily refitted and restyled to suit the prevailing fashionable silhouette. This, combined with a wealth of design detail and historical references, provides the cyclical female fashion system with an endless supply of “regular novelty” (Barthes, 2006, p.68). Yet, despite the wealth of inspiration and technique across both male and female clothing, the bias has largely been against menswear, with limited reciprocal benefit. Through an exploration of these concepts I propose to answer the question; how can I use womenswear patternmaking and construction technique to implement change in menswear design?

Since its independence in 1984, politicians and nationalists in Brunei Darussalam have appealed to traditions in their efforts to create a national identity based on Brunei Darussalam’s national philosophy, `Malay Islamic Monarchy’. Weaving is one of the traditions related to Brunei traditional culture, thus traditional textile is used to construct national identity. This study focuses on the role played by powerful institutions in the creation of new tradition in order to foster national awareness in the `new state’ of Brunei Darussalam and I examine how traditional textiles are incorporated into the project of nation building. In Bruneian society, traditional woven cloths have multiple roles whose meanings vary according to the situation in which the traditional cloth is utilized. This research explores the significance of traditional textiles in Brunei Darussalam, focusing on the consumption of locally woven textiles in its traditions and the relationships to the expression and construction of identity. Since Islam came to Brunei Darussalam, it has become one of the predominant markers of identity of the Malays. This study analyse the influence of Islam in the production and consumption of traditional textile in Brunei Darussalam. The continuity of the production and consumption of traditional woven textile in Brunei Darussalam is very much dependent on its significant in the traditions of Brunei society as a whole. In order to prove this, this study focuses its investigation upon the production and uses of traditional textiles in the social customs of Malay society in Brunei Darussalam. Traditional woven textiles are employed to construct social identity in the reproduction of distinction. Traditional textiles are also offered to signify privilege and power. I examine how traditional textile is being used to distinguish social status and political prominence, denote offices, and display wealth and prestige.

Historically, the construction, alteration, and mending of clothing was provided through household production activities, free of charge by the female members of the household or members of the extended family. These practices have changed in some families because of societal and cultural changes such as the increasing number of women who are employed outside of the household. Apparel construction, alteration, and mending are now available for purchase from service providers in the marketplace. Thus the overall purpose of this research was to examine the nature and foundation of the nonnative influences and attitudes of a sample of employed women toward purchasing apparel sewing services. Ajzen and Fishbein's (1980) reasoned action model which theorizes four stable relationships provided the theoretical framework for the research. The four relationships were Behavior-Intention (BI}, Attitude-Subjective Norm-Intention (ASNI), Behavioral Beliefs-Attitude (BBA), and Normative Beliefs-Subjective Norm (NBSN). Four corresponding objectives were investigated for three sewing services, clothing construction, alteration, and mending. A fifth objective for each apparel sewing service was used to explore the possible associations among a set of external variables and the employed women's estimated attitudes, estimated subjective norms, and the relative weights of the attitudinal and normative components in the ASNI relationship. Questions to measure behaviors, intentions to purchase, attitudes, behavioral beliefs, subjective norms, and normative beliefs were developed according to Ajzen and Fishbein's (1980) guidelines. Additional questions were developed to assess fourteen external variables derived from the review of literature. Two thousand ninety two questionnaires were sent through Virginia Tech's campus mail; 657 (97%) of the 679 (32%) returned were useable for the study. Kendall's Tau testing resulted in significant positive BBA relationships for all three sewing services. Multiple regression testing resulted in significant positive ASNI relationships for all sewing services. Significant positive BBA and NBSN relationships resulted from Pearson Product Moment Correlations for all three sewing services. All four null hypotheses for all three sewing services were rejected and the research hypotheses were supported. The fifth objective was investigated through three null hypothesis for each sewing service; each null hypothesis was tested with each external variable. The external variable, knowing someone who sews for pay, yielded statistically significant results for all three sewing services in the F-tests for the overall regressions, analysis of variance, and in the Tukey' s post hoc test; however this variable did not lead to significant differences in the standardized betas for services of altering and mending clothes, according to the Chow tests. No other external variables had as many significant tests for all three sewing services as knowing someone who sews for pay had, even though there were other significant tests in some of the relationships tested.
Ph. D.

Vid digital mönsterkonstruktion för ett plagg krävs ett befintligt grundmönster som utgångspunkt för att kunna tidseffektivisera framtagningsprocessen. På konfektionsföretag där tid för mönsterkonstruktion är bristfällig lämnas detta moment ofta till fabriksanställda trots att kompetens finns inom företaget. Denna studie syftar till att ta fram en passformsgrund till ett sportföretags formade jackor för att främja framtida konstruktionsprocess för företagets konstruktörer. Resultat har uppnåtts med hjälp av metoder som digital mönsterkonstruktion, sömnad av provplagg och avprovningar. För att grunden ska kunna användas till företagets hela storleksintervall har denna graderats. Verifiering av graderingen har utförts genom virtuell avprovning på inskannade provpersoner i ett 3D-simuleringsprogram. Resultatet visar en passformsgrund där företagets återkommande passformsproblem över byst har korrigerats. Till passformsgrunden har tre ärmar konstruerats för att bredda användningen av mönstret. Passformsproblemet och ärmarnas form har korrigerats i mönsterkonstruktionen genom förflyttning av skärlinjer, vridningar och formtillägg. Graderingens utfall visas genom digitala avprovningar i företagets brytstorlekar. Skärmdumpar från 3D-simuleringsprogrammet visualiserar skärlinjernas placering och plaggets passform.
When developing a digital pattern for a new garment a basic pattern is required to efficient the construction time. In companies where the construction process is handed over to the producing factory is the reason sometimes a lack of time for this process at the head office. This report aim is to develop a basic pattern to a sports company’s shaped jackets for women. The pattern is intended to efficient the construction time for the company's constructors when developing future jacket models. In order to achieve the result digital pattern making, toile sewing and fitting will be crucial methods to use. The basic pattern will be graded in the company’s size range. To verify the fit of the graded pattern test persons will be scanned and a virtual fitting session will be done on avatars in a 3D simulation program. The results show’s a basic pattern were the fit problem over bust area has been corrected. To enhance the usability of the pattern, three different sleeve types have been developed. The fit problem and the form of the sleeves have been solved in the pattern construction by moving the cut lines, twists and adding shape. The digital fitting process shows the grading’s outcome when the garment is tested in the company's bigger and smaller sizes. Screenshots from the 3D simulation software visualizes the cut lines placement and the fit of the garment.

This study explores the relationship between gender and fashion, by investigating the life experiences of a small group of teenage girls from an area south of Brisbane. Working from feminist perspectives, this study explores the way the girls, in the study, make sense of media representations of fashion and use this in their construction of their gendered self The representation of the fashion model construct and its role in this process is examined. Traditionally, approaches to the discussion of fashion have ranged from historical to socialist feminist, but few have focussed on the impact of fashion on teenage girls. This study is based on the assumption that there is a relationship between fashion and the social construction of the body. Connell's (1987) theories about the gender structures, oflabour, power, and cathexis, have been employed to provide a framework for the study. Femininity, in this study, is understood as not fixed, but rather created by biological and social factors which may be accepted and/or opposed at any moment on a life continuum. How teenage girls use fashion images to construct their identity is investigated. How they write their bodies, and for what purposes, is explored. This study argues that, involved in this process, is a potential struggle as these females utilise this discourse for both power and pleasure. Adopting a methodological approach similar to Gilbert and Taylor (1991), this study asks a small group of teenage girls to discuss their experiences in relation to fashion. The research is conducted in the form of a reading of a limited sample of newspaper and magazine articles about fashion, small group interviews, and a small questionnaire. It then investigates how these experiences are used by the girls in their formation of a gendered identity. The study concludes that media images of fashion play a role in designing and fabricating the gendered identity of the girls in the study, but they often experience difficulty relating to the images presented. The restrictions in their lives that preclude them from having the power to be like models have led to a resistance to many aspects of fashion, rather than reading of fashion as an unpleasant experience.

Розглянуто необхідність оптимізації принципу розробки індивідуальних освітніх програм для професійної підготовки дизайнерів одягу. Аргументовано раціональність організації проектної діяльності дизайнерів в системі колективної проектної творчості.
The article considers the need to optimize the principle of developing individual educational programs for the professional training of clothing designers. The rationality of the design activity of designers in the system of collective project activity is argued.

This thesis explores high-end and bespoke menswear, tailoring and fashion, asking the question - why do some men choose to spend large sums of money to have clothes made for them? Using tailors and high-end menswear as a lens, this thesis unpacks how men construct their notion of self in the digital and terrestrial worlds through the clothes that they wear and the identities they perform. Based on twelve months' terrestrial fieldwork in London and twenty-four months' concurrent digital fieldwork with Instagram, this thesis examines notions of dress, performance and the individual across a multi-dimensional fieldsite set within a blended digital and terrestrial landscape. The fieldwork comprised visiting and interviewing tailors, and observing inside their workshops and at their fashion shows. In addition, the analyst-as-client built relationships with tailors, and constructed a digital self within Instagram through the publication of self-portraits and images of clothing. This thesis is presented in four chapters, flanked by an Introduction and Conclusion. These chapters move from an exploration of terrestrial research in the first two, to an analysis of digital research in the latter two. Five major motifs emerge in this thesis: the importance of the anthropology of clothing and adornment within western society; the nature of the individual in a digitised world; the difficulty in conducting western-centric fieldwork without an element of digital analysis; a methodological restructuring of digital anthropology; and the idea that a digital self can acquire agency. This thesis employs a pioneering blended methodology which brings together the fields of digital anthropology, visual anthropology and material culture to question how selves are constructed in a rapidly changing and increasingly digitised modernity. In conclusion, the thesis argues that individuals construct multiple digital selves and a sense of identity (around the notion of 'authentic individualism') that is illusory.

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

Dissertação apresentada para obtenção do Grau em Mestre em Design de Moda, apresentadas na Universidade de Lisboa - Faculdade de Arquitetura
A presente proposta debruça-se sobre um estágio académico na empresa Alice + Olivia, no departamento de design técnico, que decorreu do dia 1 de Fevereiro a 27 de Junho de 2014, em Nova Iorque. Alice + Olivia é uma marca contemporânea de roupa com um estilo sofisticado e irreverente direccionada pela designer Stacey Bendet. Durante o estágio na Alice + Olivia foram acompanhadas várias fases de trabalho, de entre as quais se destacam os desenhos técnicos, realizados a partir das ilustrações do gabinete de design, a compilação de fichas técnicas para produção e ainda a verificação de protótipos e moldes e das suas medidas e cortes. Este projecto surgiu não só pelo gosto de enfrentar novos desafios mas também pela necessidade que a mestranda sentiu em ganhar experiência no mercado de trabalho de design de moda. De crescer e de trabalhar num patamar acima do académico, aprender a dinâmica da moda numa empresa e num mercado específico, e ainda de fomentar oportunidades para o futuro. Pretendeu-se obter uma aprendizagem acrescida acerca desta indústria e das suas metodologias de trabalho. Diminui-se a distância entre o trabalho académico e o profissional o estágio permitiu consolidar as competências interdisciplinares obtidas durante a formação académica. Beneficiou-se ainda de uma melhor perceção do mercado da moda, da posição da Alice + Olivia no mesmo e das estratégias que a empresa segue para alcançar os seus objectivos. A realização de um estágio como conclusão do mestrado é uma opção extremamente promissora, que permitirá catapultar os mestrandos para o mercado de trabalho.
ABSTRACT: The present document focus on an academic internship at the company Alice + Olivia, working in the technical design department, from February 1st to June 27th of 2014, in New York city. Alice + Olivia is a contemporary fashion company with a sophisticated and irreverent style, run by the designer Stacey Bendet. During the internship at Alice + Olivia several kind of work took place, among them technical drawings, made with the information from the illustrations from the design team, the creation of tech packs for development, and also the verification of prototypes and patterns and its measures and cuts. This project takes place not just because of the love for facing new challenges but also because of the master student’s need in gaining experience in the fashion design work market. The need to grow and to work in a higher level than the academia, to learn the dynamics of fashion in a company in a specific market, and also to promote opportunities for the future. Therefore the target of this project is to improve the knowledge about the fashion industry and its methodologies. The distance between the academic work and the professional work was decreased and this internship was an enhancement of the academic knowledge. It was gained a better perception and insight of the fashion industry, the Alice + Olivia’s position in the market and the strategies used by the company in order to succeed. Doing an internship as a conclusion of a master degree is a very promising option, that will allow the students to be launched into the work world.

This dissertation is a written component of a thesis, which was developed and articulated over four years in the construction of a narrative of the fashion designer and their practice. The hypothesis developed by the fashion designer as practitioner, is that it is both possible and necessary, by careful notation and reflective practice, to arrive at a better understanding of the fashion design practitioners cognitive and behavioural reasoning through the creative practice process than exists in current literature and archive. In comparison with the archiving of materials that testify to the complexity of creativity in painting, sculpture and orchestral composition, for example, the archiving of the process and practice of fashion design is negligible. Collections of designers' ephemera often constitute little more than ‘the retrospective’ or materials of celebrity culture that further mystify the 'author function' role (Foucault, 1969, p.113-138) of the fashion design practitioner. This research aims to suggest a critical visual method for and in support of constructing a narrative of fashion practice as it is lived towards a new culture of compiling, recording, noting, classifying and analysing the tacit process of the fashion design practitioners relationship to their practice. The practice therefore comprises the designing, draping, cutting and making of an eight-piece collection of fashion womenswear. The research comprises extensive documentation of the (research) practitioner’s subjective-objective1 dialogues as purposeful acts of thought (Burnette, 2009b) and action whilst developing a body of creative work. In addition to the researcher's journey this narrative inquiry extends documentation to include the responses of five other practitioners as willing participants in the project aim: to develop a new research method for documenting and understanding the fashion design practitioners cognitive and behavioural narratives. Whereas there is a significant literature on design theory written by theorists and not necessarily practitioners, and a considerable literature on fashion as object of sociological, historical, cultural, anthropological, semiotic, psychological, political, philosophical, economic study, there exists almost no serious study of fashion design practice from the perspective of the fashion designer (as practitioner). This research aims, without artificial abstraction of the creative practice from its cultural and social milieu, to start a serious, scholarly, rigorous study of fashion practice as design method. It may be that such method will be met with reactions that it could meddle with the illusion of a designer's intuitive sense of knowing and that it is an unwelcome complication of what should remain an invisible or tacit (because as yet unrecognised) process. The aim of the research is to develop a method that can be customised and adopted by the fashion design and design research communities and fashion designers in training and in professional practice, to understand more about their creative practice process in both cognitive and behavioural terms. To this end I use the forms of auto ethnography to collect data through sketchbook work, diarised journals, photographic and film reportage and interview in order to consider how a method of (doing) practice may refer to theories of practice. Literary theory of Bakhtin is offered as an example of a dialogical method to consider how the process of fashion practice can be considered as communicable knowledge. The Kantian philosophy of the 'a priori' knowledge and Foucault’s relational systems of thought and knowledge are also offered as discourse and a foundation of thought that structures the tacit dialogues in the here and now as a telling of a knowing of a doing of fashion practice. The written dissertation is a text, which co-exists with the narrative traced through the making and visual realisation of the collection exhibited and photographed at the viva voce (Figure 1 & Appendix H).

Lines are a fundamental part of visual perception. This work explores how to conceptually work with lines as guildelines when constructing garments. The aim is to investigate the dynamics of straight lines through experimental construction of dress.This dissertation is conducted through experimental artistic research. The main applied method is constructing from striving line compositions to three-dimensional shape. Other line properties, such as angle, width or length became influential variables in creating form and dynamic in combination with the choice of colour and fabric. Line compositions can provide strong dynamics given it’s put in relation to body and movement.
Program: Modedesignutbildningen

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In this research, I analyze a process of a teaching/learning activity in modeling on stones developed with Fashion Design students of the School of Visual Arts of The Federal University of Goiás as part of the signature Plane and Tridimensional Modeling I. This activity is intended to offer the students an opportunity to experiment and reflect on the modeling process and its relationship with support (body/stone), material and methods in the construction of clothes. The research presents a historical overview of methods for plane and Tridimensional modeling, describes the construction of pedagogical clothing objects - modeling of fabric in stones and reflects on the perceptions and meanings of this experience for future designers. The methodology used is action research, a perspective that guided the understanding and interpretation of these perceptions examining its impact and contribution to the training of designers.
Nessa pesquisa, analiso o processo de desenvolvimento de uma atividade de ensinoaprendizagem de modelagem de tecido em pedras, realizada com alunos do Curso de Design de Moda da FAV/UFG, na disciplina de Modelagem Plana e Tridimensional I. Essa atividade tem o intuito de levar o aluno a experimentar e refletir sobre o processo de modelagem e sobre relações entre suporte (corpo/pedra), material e métodos na construção de roupas. A pesquisa apresenta uma revisão histórica dos métodos de modelagem plana e tridimensional, descreve a proposta pedagógica de construção de objetos vestimentários modelagem de tecido em pedras - e reflete sobre percepções e sentidos dessa experiência para futuros designers. A metodologia usada é a pesquisa-ação, perspectiva que orientou a compreensão e interpretação destas percepções examinando sua contribuição e impactos para a formação de designers.

碩士
淡江大學
法國語文學系碩士班
100
We now live in an information rich and excessive resources era. Thus, material needs no longer are the primary motivations in consumers and the value symbolic have replaced the value practical, resulting the whole consumption territory is based on a system of sign. Especially, the fashion within a sign. Via the packaging and advertisement of the media, fashion becomes dominant consumption principle. The manipulations by the businessmen have incorporated the consumer products and services into the fashion system. Therefore, consumers not only following the structure symbolic but also the fashion. Simmel and Baudrillard have proposed different views on fashion. One commonality is that both of them think fashion can be interchangeable and instantaneous. Also, due to the easy replication of the products, fashion can disappear instantly. The rapid changes in fashion have made consumers over spending. Bourdieu have proposed via the concept of taste built up by the social structure, we can continue building the fashion sense by changing our consumption behavior and living style. However, the ultimate goal is to distinguish one from another and the difference in social status. This thesis focuses on the relationship between the consumption pattern and constructing a clothing style and how both inter-related with one another, in which later resulting consumption selections and different behavior patterns. The first part of introduces fundamental concept and history of fashion and also some relevant and important terms. The second part places a strong emphasis on how modern society consumption is formed and the trend in fashion consumption and how these are related to the human physical and mental aspect. The last part divides fashion consumption into social aspect and mental aspect. The former requires the building of fashion sense and latter requires mental reaction. Lastly, how fashion sense is related to social structure and stability and how this ultimately construct the sense for clothing.To talk about the concept of Fashion, Simmel and Baudrillard think that Fashion is changeable and vanishingly in a flash, and they both agree the Imitation Mechanism in the process. In Fashion, the quality of changeable makes people over purchasing; the quality of easy to imitate makes itself to disappear instantly, then more new fashion will be created and circulated on and on. Bourdieu brought up an idea of Social Construction and it becomes the standard of pursuing and purchasing Fashion. The taste is built up on the behavior of purchasing, living model, the way to perform Fashion and clothing. The purpose of establishing the taste is the same with pursuing Fashion, they both exhibit the personal stoical status and image. In conclusion, the thesis is about the relationship in between fashion consuming style and establishing taste. In my point of view, they are affected by each other and the result shows in the consuming choice and behavior pattern. The taste is reflected in the fashion consuming through the re-produce of Sign and the culture accomplishment.

碩士
逢甲大學
經營管理碩士在職學位學程
107
Nowadays, the more developed the technology, the more functional requirements people wear are no longer just as they used to be, as long as they keep warm. In addition to keeping warm, it also requires higher performance properties, such as: perspiration, deodorization, antibacterial, easy to remove dirt, abrasion resistance, constant temperature, antistatic, anti-UV sunscreen, temperature management, good ventilation ….….etc. Therefore, in the sales process, we need to understand the real needs of customers first, and also provide products that truly meet the needs of customers in the R&D and design of products; once new products are developed and designed, samples should be provided for customers to try on and collect. Customer feedback, through these valuable feedback materials, will be revised in the R&D and design of new products to facilitate the production of products that truly meet the needs of customers. Whether the new product customers pay the bill, whether the product is different from others, and is a competitive and innovative product, if the new product can grasp the innovation and customer demand, then it can achieve higher sales than the competitor in the market Sales Results. The so-called good products in the market are due to listening to customers voices and further research and development to design customer needs, as well as innovation in products. Keywords: Functionality, R&D design, Innovation, Customer needs

碩士
輔仁大學
織品服裝學系碩士在職專班
105
Through the field survey in Qiandongnan Autonomous Prefecture of Guizhou Province in China and the research on women's costumes specific to the Miao ethnic group in Qiandongnan Autonomous Prefecture based on the collection of women's Costumes specific to the Miao ethnic group in the “Chinese Textiles and Clothing Culture Center” (hereinafter referred to as the CTCCC) set up by the Textile and Clothing Department in Fu-Jen Catholic University, this study aims to understand the garment patterns in women's costumes specific to the Miao ethnic group in Qiandongnan Autonomous Prefecture. This study is conducted to serve two specific purposes: 1. To analyze the garment patterns in women's costumes specific to the Miao ethnic group in Qiandongnan Autonomous Prefecture and to further understand the uses of the slits (vents) in the garment specific to the Miao ethnic group. 2. To clarify the classifications and variations among the 39 branches of the Miao ethnic group in Qiandongnan Autonomous Prefecture from the perspective of garment patterns in women's costumes. This study is conducted in two parts: 1. This study conducts research on women's costumes (upper garments) collected by the CTCCC among the 39 branches of the Miao ethnic group in Qiandongnan Autonomous Prefecture. The author applied to the CTCCC for 53 samples in the sequence of the 39 precincts (for 39 branches of the Miao ethnic group in Qiandongnan Autonomous Prefecture) from July to September in 2015. 2. This study conducts the short-term field survey and interview the Miao Ethnic Group in Qiandongnan Autonomous Prefecture. Between 2016/06/30 and 2016/07/10, the author accompanied Dr. Chao-Hua He to arrive in Qiandongnan Autonomous Prefecture of Guizhou Province to conduct the focus interview for the Project titled “A Cross-Regional Comparative Study on Geometry and Representational Imagery of the Black Miao ethic group in Guizhou Province” and hosted by Ministry of Science and Technology. In the field survey, 14 married women aged between 30 and 61 from the Miao ethnic group were interviewed at different times and locations within the limited amount of time. At the same time, we also obtained 41 pieces of collections from the interviewees as the Miao ethnic group's sample garments. In addition to analysis of styles, types and patterns in the Miao ethnic group's sample garments, the sample garments were also juxtaposed to find their commonalities and differences. From the cross comparisons between the sample garments from the CTCCC and the sample garments in the same styles obtained from the field survey, the structures of the garment patterns exhibit no significant differences. Some upper garments had the garment slits at the lower hems as garment patterns, but as time went by, they vanished for streamlining. However, in some upper garments, the structures of garment patterns were complicated rather than streamlined. Among the branches, although the structures of their garment patterns are the same, they still think that different branches may place embroideries and patterns at different positions. In some neighboring branches, their garments have very similar embroideries and patterns placed in similar positions, but they belong to different branches owing to non-intermarriage between the upstream and the downstream tribes. However, this study still consider them from the same branch based on the garment patterns.

碩士
輔仁大學
織品服裝學系碩士班
107
The research is inspired by the construction sites that we regularly see in our daily life, and project the role of the construction worker on myself, taking the available elements from the observation of the architectural scenario, then cut into the point from the textile structure to creating some new clothing fabrics. The texture of the fabric is manufactured by weaving and knitting. The weaving technique applies plain weave and twill weave, and the knitted part is created by the seven-needle and twelve-needle types of the Shimaseki computer horizontal knitting machine. Finally, the last part is to use the knitting fabrics and weaving fabrics to make clothing. The styles of the clothing are combined with workwear and details of the garments to fulfill the functionality and practicality required for the workers. In the story aspect of the work, the researcher uses the image of the denim as a symbol of labor and applies red, yellow and blue to symbolize blood, sweat and tears, conveying the meaning of sweat and tears labors with this symbolic approach. This collection will be presented by six sets, totally twenty-three garments, to interpret a fantasy of the construction sites and workers.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

碩士
實踐大學
時尚與媒體設計研究所
96
Based on the similarities between clothing and architectural spaces, research for this paper melds the aesthetics in clothing and architectural spaces, creating apparel space that changes shape in response to body movement, which transforms clothing into wearable architecture or a kind of portable space. Clothing and architecture are two fields that are often compared to one another, as they are very similar in terms of their purpose and how they create space. In addition, the purpose of the structure of these two lie in meeting the needs of the user while blending form and function. In light of these similarities, this paper focuses on ‘structure,’ applying the assembly methods of architecture and applying them to clothing, allowing structure to move in unison with the body, and finding new aesthetics in the interaction between clothing and the body. When applying architectural structure to clothing, the first problem we face is the inflexibility of architecture being incompatible with the flexibility necessary in clothing. To handle this issue, this paper uses flexible materials and movable structures to handle the inherent conflict when blending these two opposing characteristics. The simultaneous movement of clothing structure and the body displays a dialogue between the rhythm of the body and the human form. During this experimental process, the melding of clothing aesthetics and architectural structure resulted in the creation of apparel with a movable structure. In addition, adding a transmitting mechanism for body strength allows localized power from joint movement to be transmitted to other parts of the body, expanding the scope of linked movement. Continuing in this creative direction, the relationship between clothing structure, volume and the body will be discussed.

碩士
朝陽科技大學
工業工程與管理系碩士班
97
Heat stress is a well-known industrial safety hazard that causes heat injury. It is more hazardous to those who have to wear Encapsulating Protective Clothing (EPC) during work. People doing this kind of jobs such as construction、refinement、asbestos purgation、chemical experiment、poison purgation or exact commercial foundry, have to wear Encapsulating Protective Clothing(EPC) while performing their tasks. Wearing EPC is easier to increase the heat from environment to human body, then, affect the worker’s health and productivity. The heat stress monitor of the workers who don’t wear EPC is still limited to normal environment condition. If the heat stress is being underestimated, the workers would easily increase the risk of getting hurt by heat stress. If being overestimated, the control measures would probably lead to the reduction of productivity. We have to monitor the heat stress inside of microenvironment worn by workers and their physiology condition immediately and discuss the effect of wearing EPC to the dexterity. The first research goal is to integrate a personal monitor. We can measure the microenvironment inside the EPC by using the temperature and wet sensors、heartbeat rate、tympanic thermometry and thermography. The second research goal is to compare the length of finishing time of pegboard tasks under three different situations “barehanded”, “gloved” and “gloved EPC” and see how it affects the dexterity. The integrated personal monitor can be used to monitor the inside of EPC worn by workers, using SHT15 to estimate the climate of microenvironment, LM-92 to estimate the skin temperature、tympanic thermometry sensors-MLX90614 to estimate the ear temperature、POLAR S810 to estimate the physiology situation.The data will be shown immediately through a Borland C++ Builder 6.0 system. There is a big difference between the barehanded (45.97±5.87 s), gloved hand (127.36±47.96 s) and EPC worn (129.44±48.76’s) conditions. Furthermore, the dexterity of the bare hand is better than the other conditions.

by Lun Ngai-mei, Amy.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves [1-10] (4th gp.)).
Acknowledgment --- p.i
Abstract --- p.ii -iii
Table of Content --- p.iv -viii
List of Tables --- p.vii-viii
List of Figures --- p.viii
Chapter Chapter 1 --- Introduction --- p.1-4
Chapter 1.1 --- Background of the Study --- p.4-6
Chapter 1.2 --- Purpose of the Study --- p.7-9
Chapter 1.3 --- Significance of the Study --- p.9-10
Chapter 1.4 --- Definition of Terminology --- p.10
Chapter 1.4.1 --- The Subject of 'Pattern Construction' --- p.11-13
Chapter 1.4.2 --- CAD systems in the Clothing Industry --- p.13-16
Chapter 1.4.3 --- The PAD System --- p.17-20
Chapter Chapter 2 --- Literature Review --- p.21
Chapter 2.1 --- Educational Innovation & Implementation Evaluation
Chapter 2.1.1 --- Educational Innovation --- p.21-22
Chapter 2.1.2 --- Implementation --- p.22-27
Chapter 2.1.3 --- Evaluation --- p.28
Chapter 2.1.4 --- Conducting Evaluation for an Educational Innovation --- p.29
Chapter 2.2 --- Evaluation of Instructional Materials --- p.30
Chapter 2.2.1 --- Conception & Methods in Evaluation of Instructional Systems --- p.30-31
Chapter 2.2.2 --- An Evaluation Model for Instructional System --- p.32-34
Chapter 2.3 --- A Model for Computer Software Evaluation --- p.34-36
Chapter 2.3.1 --- Description of the Model --- p.37-38
Chapter 2.3.2 --- Methodology used in the Software Evaluation Model --- p.38-39
Chapter 2.3.3 --- Discussions on the Reiser & Dick Evaluation Model --- p.39-40
Chapter 2.4 --- Conditions to Evaluating the Implementation of Educational Innovations --- p.41
Chapter 2.4.1 --- Initial Status of Learners --- p.41
Chapter 2.4.2 --- Learner Performance after a period of instruction --- p.42
Chapter 2.4.3 --- Execution of Treatment/Study of Program Implementation --- p.42-43
Chapter 2.4.4 --- Costs --- p.43
Chapter 2.4.5 --- Supplemental Information --- p.44
Chapter 2.5 --- The 'System Approach' to Instructional Design --- p.44-45
Chapter 2.5.1 --- Definition of Instructional System --- p.45
Chapter 2.5.2 --- The derivation of an instructional system --- p.46-49
Chapter 2.5.3 --- Selection of Delivery System --- p.50-52
Chapter 2.5.4 --- Individualized instruction as a delivery system --- p.53-55
Chapter 2.6 --- Applications of Computer Technology as Learning Media in a Curriculum
Chapter 2.6.1 --- Computer applications in the Curriculum --- p.55-57
Chapter 2.6.2 --- Integration of Computers into the Curriculum --- p.57-59
Chapter 2.6.3 --- Computer Software for Curriculum --- p.59-60
Chapter 2.6.4 --- Effectiveness of Computer-Based Instruction --- p.60-61
Chapter 2.7 --- The Four Modes of Experiential Learning --- p.62-63
Chapter 2.7.1 --- Individual Learning Styles --- p.63-64
Chapter 2.7.2 --- Relationship between Learning Styles & the Knowledge Structure of Academic Fields --- p.65-66
Chapter 2.8 --- Summary --- p.66-67
Chapter Chapter 3 --- Research Methodology --- p.68
Chapter 3.1 --- Research Design & Procedures --- p.68-73
Chapter 3.2 --- Research Hypotheses --- p.73
Chapter 3.2.1 --- Major Hypotheses --- p.73-74
Chapter 3.2.2 --- Other Hypotheses --- p.74
Chapter 3.3 --- Research Conditions & Sampling --- p.75
Chapter 3.3.1 --- Initial Status of Learners/Students --- p.75-76
Chapter 3.3.2 --- Learning Resources/Conditions --- p.76-77
Chapter 3.3.3 --- Computer Access Time --- p.77
Chapter 3.3.4 --- Technical Support --- p.77
Chapter 3.4 --- Research Variables --- p.78
Chapter 3.4.1 --- Independent Variables --- p.78-80
Chapter 3.4.2 --- Dependent Variables --- p.80
Chapter 3.5 --- Research Instruments --- p.80-82
Chapter 3.6 --- Statistical Analyses --- p.83-85
Chapter Chapter 4 --- Results & Discussion --- p.86
Chapter 4.1 --- Results --- p.86
Chapter 4.1.1 --- Reliabilities of Research Instruments --- p.86-88
Chapter 4.1.2 --- Factor Analyses of Pretest & Posttest Questionnaires --- p.88-89
Chapter 4.1.3 --- Pair t-tests of Achievement Scores before & after treatment --- p.90
Chapter 4.1.4 --- Analyses of Covariance/Variance on Achievement by Independent Variables --- p.91-94
Chapter 4.1.5 --- Analyses of Variance on Posttest score by Independent Variables --- p.94
Chapter 4.1.6 --- Interaction Effects --- p.95
Chapter 4.2 --- Discussion --- p.96
Chapter 4.2.1 --- Reliabilities of Research Instruments --- p.96-102
Chapter 4.2.2 --- The Major Hypotheses --- p.102-103
Chapter 4.2.3 --- Factors affecting Outcomes of Innovation --- p.104-108
Chapter 4.2.4 --- Follow-up on the Evaluation Study --- p.108
Chapter Chapter 5 --- "Conclusion, Limitations & Recommendations" --- p.109
Chapter 5.1 --- conclusion on the Evaluation Study --- p.110-117
Chapter 5.2 --- Limitations of the Study --- p.117-120
Chapter 5.3 --- Suggestions for Further Research --- p.120-123
Bibliography --- p.Bi-Bx
Appendices
App. I Statistical Results from the Pilot Study
App. II A List of CAD Suppliers
App. III Self-instructional Unit
App. IV Individualized Instructional Course - Blue-print
App. V Kolb's Learning Style Inventory
App. VI Pretest Questionnaire
App. VIIa Computer Interaction Observation Checklist - for individual student
App. VIIb Computer Interaction Observation Checklist - for small group
App. VIII Posttest Questionnaire
Tables
Table 2.1 Alternative perspectives on the Implementation Process --- p.26
Table 4.1 Reliability Table of Kolb's Learning Style Inventory --- p.86
Table 4.2 Reliability Table of Pretest Questionnaire --- p.87
Table 4.3 Reliability Table of Posttest Questionnaire --- p.88
Table 4.4 Pair t-test on Achievement Scores before & after treatment --- p.90
Table 4.5 Analysis of Covariance on Achievement after treatment among different groups of subjects categorized by their Demographic Data --- p.91
Table 4.6 Analysis of Covariance on Achievement after treatment among different groups of subjects categorized by their Entry Characteristics --- p.92
Table 4.7 Analysis of Variance on Achievement after treatmentamong different groups of subjects categorized by Learning Conditions --- p.93
Table 4.8 Analysis of Variance on Posttest scores among different groups of subjects categorized by Learners' Response after treatment --- p.94
Table 4.9 Interaction Effects between ability levels & modes of study --- p.95
Table 4.10 Distribution of Learners within the Four Dimensions of Kolb's Experiential Learning Figures --- p.99
Fig. 1.1 Pattern cutting examples of a men's jacket using a CAD system --- p.12
Fig. 1.2 Diagram showing graded patterns with grade points & sizes --- p.12
Fig. 1.3 A Production lay-plan shown on a computer screen --- p.13
Fig. 1.4 A sleeve pattern being digitized --- p.13
Fig. 1.5 A Designer's Perspective of Clothing/Textile computer programs --- p.16
Fig. 2.1 curriculum Dimensions & their Relationships in the Implementaion Process --- p.24
Fig. 2.2 An Evaluation Model for instructional design --- p.33
Fig. 2.3 An Evaluation Model for computer software --- p.36
Fig. 2.4 A Flowchart showing the stages of instructional design --- p.49
Fig. 2.5 A multi-dimensional map outlining the four dimensions of computer technologieis & their attributes --- p.56
Fig. 2.6 Modes of learning in the experiential learning cycle --- p.62
Fig. 2.7 Relationship between learning styles & modes of learning --- p.64
"Fig, 2.8 A typology of academic disciplines" --- p.66
Fig. 3.1 A modified Evaluation Model for evaluating Multi-media Approach of Instructional System & CAD software --- p.70
Fig. 4.1 Graph showing Interaction Effects between Ability Levels & Mode of Study --- p.95
Fig. 4.2 Similarities among Academic Specialities at the University of Illinois --- p.100

Submitted in fulfilment of the requirements of the Degree of the Master of Technology in Fashion, Durban University of Technology, Durban, South Africa, 2015.
The years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered.
M

Clothing is the primary means that wilderness backpackers have to protect themselves from injuries and illnesses that can occur while hiking in the cold. The current method of layering clothing may not meet backpackers' needs for both thermal insulation and heat dissipation, particularly in areas of the body that produce greater sweat, and during times of high physical exertion. No previous studies have addressed backpackers' needs for thermal and moisture comfort in different body areas within a single layer garment. The purpose of this study was to design and evaluate a single-layer garment of different textiles, to improve the physiological comfort of male backpackers hiking in cold winter weather conditions. The objectives of this study were to identify the physiological comfort needs of male backpackers hiking in the cold, to design a prototype backpacking shirt to improve comfort, and to evaluate the comfort and performance of the prototype over time, in comparison to a control. Male backpackers were recruited from a wilderness therapy company in Bend, Oregon, where subjects' employment duties included regularly backpacking in the cold. Qualitative data was collected by interviewing the subjects about their physiological comfort needs, types of garments and materials worn, dissatisfactions and preferences with hiking clothing, and locations on the body that need better attention to thermal and moisture comfort. Information provided by the qualitative interviews was used to develop design criteria. From the guarded hot plate and moisture management testing, results were used to select one thermal insulation, moisture management, and control fabric for the garment design. Based on the design criteria, a prototype shirt was developed. A prototype garment was constructed using the combination of the thermal, moisture, and control fabrics; while a control garment was constructed in an identical style using only the control fabric. The prototype and control garments were worn and tested by subjects while they backpacked. Additionally, comparisons of thermal insulation data between the prototype and control garment were collected on a thermal manikin. Major findings from the qualitative interviews were that subjects preferred base layer shirts made with synthetic fibers and style features that helped retain body heat. Subjects preferred to have greater thermal insulation in the chest and the arms, and less thermal insulation in the underarms and upper back area. Additionally, subjects were concerned about durability. A polyester fleece pile-knit was selected for the thermal insulation fabric and located in the arms and chest of the prototype. The moisture management fabric selected was a polyester fiber mesh knit fabric and was located in the upper back, underarms, and side seams of the garment. The control fabric was a brushed polyester double knit fabric and was located in all other body areas of the prototype and in the entire control garment. The wear test data indicated that both the control and prototype garments were perceived to be comfortable. The prototype had slightly better overall comfort than the control, and there were significant differences found between the prototype and the control in the areas of overall comfort, combined thermal comfort, and combined moisture comfort. The prototype did not consistently have better comfort performance than the control in each trial and for each subject. It was found that the prototype and control shirts could be worn without additional layers when the temperatures were above 35 ��F and 40 ��F, respectively. Thermal manikin testing results confirmed that the overall thermal insulation of both test shirts was equal, but that the prototype had greater or less thermal insulation than the control in specific body areas, depending on the placement of the thermal insulation or moisture management fabric. In summary, the prototype shirt designed in this study has accomplished the goal of providing backpackers' physiological comfort needs identified in the qualitative interviews.�� The design prototype, when worn alone, is able to keep backpackers comfortable when hiking in cold conditions, particularly in temperatures above 35��F. Although not intended to be worn as part of a layer system, the prototype also keeps backpackers comfortable when they are wearing multiple clothing layers. The use of different fabrics in different body areas satisfies the backpackers' needs of both retaining and dissipating body heat with changes in physical activity. Although both the prototype and the control shirts were found to have good thermal, moisture, and overall comfort, the prototype had slightly higher overall comfort ratings than the control.�� In addition, both the prototype and the control were perceived to be better than the subjects' own base layer shirts, and all subjects were willing to recommend the shirts to other hikers.
Graduation date: 2013

An examination of the working knowledge of female garment workers provides the empirical context for the analysis of gendered and racialized notions of skill in a Vancouver garment factory. This thesis problematizes how the labour of garment workers is socially constructed as being of low-value and lowskill, both inside and outside the factory. The social construction of skill on the shopfloor is examined through ethnographic observation of garment construction on the shopfloor and semi-structured interviews with floor-workers, management and union leaders conducted over eight months serve to describe My findings indicate that in spite of managerial strategies that serve to create categories of unskilled work and workers alike, operators act knowledgably and competently on the job. But the social construction of skill, permeated with gendered, racialized and class-based attributions, tends to make invisible the working knowledge of operators. In a contradictory way, being considered skilled turns into a disadvantage for those workers who are expected to perform even more efficiently without increased financial reward. Thus being recognized as more skilled becomes problematic for garment workers. As this study shows skill is a contradictory social construct defined by ideological and political interests. Definitions of skill are as much a reflection of a contradictory labour process as an expression of differential power and privilege. The preservation of power and privilege is in fact the subtext for managerial definitions of skill that render female garment workers as unskilled. This finding points to the need for a critical reflection on the utility of the concept of skill and questions whether skill is a viable concept for explaining and reflecting on the working knowledge of operators, and suggests that notions of tacit skill and working knowledge might be more fruitful. Shortly after my fieldwork ended the plant observed in this study ceased production and moved its operations to a Free Trade Zone in Central America. The same social processes that allow the construction of garment workers as "unskilled" on the Vancouver shopfloor produce even cheaper "unskilled" labour globally.

abstract: This research examines four stateswomen fashion icons—Jacqueline Kennedy Onassis, Diana, Princess of Wales, Michelle Obama, and Catherine, the Duchess of Cambridge—and the way these stateswomen used clothing and personal style to create a public identity. Dress is a powerful tool of personal expression and identity creation and when we look at stateswoman style, we see the ways that dress gives them agency to negotiate the “official” identity that’s being placed on them. Personal style is the way we use personal adornments (clothing, jewelry, cosmetics, etc.) to form messages about who we are, who we dream we could be, and what our personal values are. It is a system of communication with rhetorical influence on others that, in return, offers a way to embrace, challenge, or subvert societal expectations and cultural norms. The choice to embrace, challenge, or subvert to the expectations is fluid, and the women continuously move back and forth between these states. I argue for the ways the selected women in this analysis make choices and negotiate such expectations on the national stage through their clothing choices. While personal style does not construct our identities on its own, our dress is often the first indicator of our identity and personality. Dress, therefore, becomes one way to express our identity, even in situations where we are otherwise silenced. Stateswomen are “not body as advertisement”—as celebrities are—but “body as a source of agency.” For every woman, stateswomen included, clothing is a rhetorical statement that they make every day. These women exemplify the way choices can be made powerfully—because they are “like us” more than fashion icons. These stateswomen icons show the public evolving negotiations between personal and public style and identity. They demonstrate the ways that clothing choices can be empowering ways to construct identity and use clothing as an identity statement. This is instrumental in helping average women of the public learn how they can use clothing as a rhetorical statement that creates agency and identity.
Dissertation/Thesis
Doctoral Dissertation English 2018

碩士
實踐大學
時尚與媒體設計研究所
99
As a youngster in Taiwan, “Chinese culture” seems to be an unfamiliar noun. We only encounter it in textbooks while our daily life is occupied by the aggressive western culture and value. However, how could we be totally unaffected by Chinese culture since we are geographically situated in its cultural frontier? As a designer, I select Suzhou Gardens as my first step in tracing back my Chinese root, reflectively examining the composition of my own multi-cultural identity. 　Suzhou Garden is a typical and physical carrier of Chinese culture. It is not only concerning garden design, but also gesamtkunstwerks (universal artwork), including architecture, sculpture, Chinese painting, literature and so on. Bedsides, spiritually speaking, the garden also represents the historical image of Chinese literati and the philosophy of the harmonious relationship between mankind and nature. By understanding the every aspect of the Garden, comparing the aesthetic difference of western and Chinese costume as well as garden design and collecting examples of such multi-cultural application, I, as an intermediary between western and Chinese culture, would like to create my unique approach in fashion design. 　In addition to the literary research, I summarize three general construction methods of creating layers and space that dominate in Suzhou Garden design and then manipulate them separately in my experiments. Finally, I would combine all the methods and my interpretated image to create a unified image for wearers, a female with wisdom and gentlemanship.

Clothing, together with other bodily adornments, is a valuable tool for communicating loyalty, identity and status. The coded messages inherent in the interplay between garments, bodies and society play a fundamental role in political culture, and the early modern era was no exception. The example of Mary I of England and her wardrobe choices demonstrates precisely how useful this tool could be. Through examination of previously-unpublished warrants, information from Privy Purse records, contemporary accounts and portraiture, this thesis analyzes the contents of and changes in Mary I’s wardrobe through the course of her adult life. By examining what the queen wore and when, patterns emerge that correlate with important parts of her political strategies. The first queen regnant, Mary used her wardrobe as a vital tool in the construction of her identity and self-representation, and as a means of navigating through the political and domestic upheavals that threatened her authority.
A work discussing Mary Tudor (Mary I)'s use of clothing as a political tool in mid-sixteenth century England. Includes transcriptions of warrants from the wardrobe of the robes from 1547, 1557, 1558.

This project draws on aspects of research into the plight of women prostitutes working in Lal Batti areas of India. The project considers historical, contemporary and personal texts that form the basis of a creative synthesis. This synthesis is manifest in the design of five fabric-based artworks that seek to interpret issues of manipulation, entrapment, belonging, spirituality and demise. The project is located beyond the boundaries of fashion design. However, it involves an artistic fusion of garment construction, fabric and surface treatment. In doing this, the thesis seeks to give ‘voice’ to a political commentary that reaches beyond commercial uses of garments for display and protection.

Chan Cheung Shing.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 88-90).
Abstracts in English and Chinese.
Abstract --- p.ii
Acknowledgements --- p.iv
Table of Contents --- p.v
List of Figures --- p.viii
List of Tables --- p.xii
Abbreviations and Notations --- p.xiii
Chapter Chapter 1 --- Introduction --- p.1
Chapter 1.1 --- Background and Objective --- p.1
Chapter 1.2 --- Contribution --- p.4
Chapter 1.3 --- Thesis Outline --- p.5
Chapter Chapter 2 --- System Architecture --- p.6
Chapter 2.1 --- Conceptual Design --- p.6
Chapter 2.2 --- Sensing Device and Fall-Detection Algorithm --- p.7
Chapter 2.3 --- Mechanical Part --- p.10
Chapter Chapter 3 --- Mechanical Design --- p.11
Chapter 3.1 --- Similar Products --- p.11
Chapter 3.1.1 --- Airbag Restraining Systems in Automobiles --- p.11
Chapter 3.1.2 --- Airbag Jackets for Motorcycle and House Riders --- p.12
Chapter 3.2 --- Mechanism adopted --- p.12
Chapter 3.2.1 --- Time Requirement of Inflator --- p.12
Chapter 3.2.2 --- Mechanism and Design --- p.13
Chapter 3.2.3 --- Actuator --- p.14
Chapter 3.2.4 --- Punch --- p.15
Chapter 3.2.5 --- Airbags --- p.18
Chapter 3.2.6 --- Other Mechanisms Tried --- p.19
Chapter 3.3 --- Prototype --- p.21
Chapter 3.3.1 --- Implementation --- p.21
Chapter 3.3.2 --- Demonstration --- p.23
Chapter Chapter 4 --- Inflation Estimation --- p.25
Chapter 4.1 --- Theory and Model --- p.25
Chapter 4.2 --- Validation of Model --- p.28
Chapter 4.2.1 --- Testing Equipment --- p.28
Chapter 4.2.2 --- Preprocessing of Pressure Sensor Outputs --- p.28
Chapter 4.2.3 --- Validation for Basic Equations --- p.29
Chapter 4.2.4 --- Adjustment of Discharge Coefficients --- p.36
Chapter 4.2.5 --- Validation for Discharging to a Fixed Volume --- p.40
Chapter 4.2.6 --- Estimation of the Size of Airbag's Leakage Hole --- p.45
Chapter 4.2.7 --- Validation for Discharging to an Airbag --- p.47
Chapter 4.2.8 --- Time Delay due to Addition of a Pipe --- p.52
Chapter 4.3 --- Summary of Experiments --- p.53
Chapter 4.4 --- Limitation of Model --- p.54
Chapter 4.5 --- Prediction of Inflation Time and Airbag Pressure --- p.55
Chapter 4.5.1 --- Effects of Orifice Size and Vent Size on Airbag Pressure and Volume --- p.55
Chapter Chapter 5 --- Force Attenuation Estimation --- p.58
Chapter 5.1 --- Theory and Model --- p.58
Chapter 5.1.1 --- Kelvin-Voigt Model --- p.59
Chapter 5.1.2 --- Standard Linear Solid Support Model --- p.59
Chapter 5.2 --- Simple Testing for Validation --- p.61
Chapter 5.3 --- Summary of Experiment --- p.64
Chapter 5.4 --- Estimation --- p.64
Chapter 5.4.1 --- Force Attenuation Ability of Prototype --- p.64
Chapter 5.4.2 --- Minimum Airbag Volume and Pressure Required to Reduce the Force --- p.65
Chapter Chapter 6 --- Future Work --- p.66
Chapter 6.1 --- Impact Test for Airbag System --- p.66
Chapter 6.2 --- The Effective Mass of the Target User --- p.67
Chapter 6.3 --- The Motion Data Collection --- p.68
Chapter 6.4 --- Modification in the Inflator --- p.69
Chapter Chapter 7 --- Conclusion --- p.70
Appendix A Review of Basic Thermodynamics and Fluid Dynamics --- p.72
Chapter A.1 --- Thermodynamics --- p.72
Chapter A.2 --- Fluid Mechanics: Incompressible and Compressible Flow --- p.75
Appendix B Derivation of Equations --- p.77
Chapter B.1 --- Mass Flow Rate Equations --- p.77
Chapter B.2 --- Relationship between Rate of Changes of Airbag Pressure and Volume --- p.80
Chapter B.3 --- Pressure Change of Compressed Gas Cylinder --- p.82
Chapter B.4 --- Dominating Factors in the Mass Flow Rate Equation --- p.83
Appendix C Dimensions of Inflator --- p.85
Appendix D Experimental Data --- p.86

碩士
國立成功大學
電腦與通信工程研究所
101
The cardiovascular disease has become the generally acknowledged “first killer” to human health nowadays. The disease not only causes a serious injury to human health, but also leads to death. The electrocardiogram (ECG), i.e. the heart disease and hypertension and other cardiovascular diseases routine examination items, is mainly used in clinical cardiac disease diagnosis and prevention. The purpose of the paper mainly focuses on the design of the physical clothing capable of measuring the signal of electrocardiogram (ECG) and physiological activities. The surgeons can diagnose the abnormal physiology/ psychology diseases or the athletes can monitor their physical condition according to the analyzing results of these signals. The physiological clothes are designed with cotton wire making users more comfortable without feeling the existing of wire when wearing. The usage of clothes are more convenient and sanitary because of the advantage of directly washing. In addition, the system board is designed based on modular consideration that is simple for setting up and is more scalable. The ECG conductive pole piece is made with cotton wire that is different from the traditional explicit patch electrode. The cotton wire electrode is a kind of dry type electrode that is more convenient and lithe for physiological clothes. The accelerometers and gyroscopes are used to record human activity. The records can be further used to correct the signal of ECG. The physiological clothing integrates the textile and mechanical and electrical design. The advantages of the clothes include comfortable and easy wearing and functional physiological detection. The experiments demonstrate the feasibility of cardiac physiological monitoring by using the physiological clothing.

Dissertação de mestrado em Economia Industrial e da Empresa
O estudo realizado procura identificar os fatores determinantes da morte de empresas, na economia portuguesa, no período de 2013 a 2016. A análise centra-se em variáveis económicas presentes nos dados contabilísticos das empresas. Este trabalho além de observar a morte de empresas em toda a economia, analisa também a morte de empresas nos setores a manufatura, o comércio, a construção e o têxtil, vestuário e calçado. A análise empírica utiliza o Sistema de Contas Integradas das Empresas (SCIE) do Instituto Nacional de Estatística (INE). Os resultados das estimações econométricas com vista à identificação dos fatores determinantes da morte das empresas sugerem que as variáveis mais relevantes, em toda a economia, são: os resultados operacionais, as exportações, o rácio EBITDA, a dimensão da empresa, o endividamento, os impostos e os subsídios. No caso dos resultados operacionais, afetam de forma negativa a morte de empresas, pois quanto maior for esta variável, menor a probabilidade de morte de empresas, a mesma conclusão é verificada para variáveis como a exportação, autonomia financeira, rácio EBITDA, dimensão e subsídios. Identificamos o endividamento e os impostos como variáveis que afetam de forma positiva a probabilidade de morte de empresas, uma vez que quanto maior forem estas variáveis, maior a probabilidade de a empresa morrer. Observamos a mesma conclusão para o prazo de pagamentos e o prazo de recebimentos.
The study seeks to identify the determining factors of the death of companies in the Portuguese economy in the period from 2013 to 2016. The analysis focuses on economic variables present in company accounting data. This work besides observing the death of companies throughout the economy also analyzes the death of companies in the sectors manufacturing, trade, construction and textile, clothing and footwear. Empirical analysis uses the Integrated Business Accounts System (SCIE) of the National Institute of Statistics (INE). The results of econometric estimates to identify the determinants of the death of companies suggest that the most relevant variables, throughout the economy, are: operating results, exports, the EBITDA ratio, the size of the company, indebtedness, taxes and subsidies. In the case of operating results, they adversely affect the death of companies, because the higher this variable, the lower the probability of death of companies, the same conclusion is verified for variables such as export, autonomy, EBITDA ratio, size and subsidies. We identify indebtedness and taxes as variables that positively affect the probability of death of companies, since the higher these variables, the more likely the company will die. We observe the same conclusion for the payment deadline and the period of receipts.

A compra de roupa em segunda mao e um metodo de consumo de roupa em crescimento. No entanto, devido a todos os beneficios que este metodo apresenta, a adesao nao e tao grande como poderia ser. Varios estudos exploraram as principais motivacoes, mas poucos incidiram sobre os fatores que impedem os consumidores de adotar este comportamento de consumo. Este estudo pretende identificar barreiras, atraves das diferencas na percecao dos consumidores experientes e inexperientes. Da literatura foram selecionadas as motivacoes mais frequentes e algumas das barreiras ja identificadas a compra de SHC e agrupados em 3 constructos: percecoes do consumidor, ambiente de compra e caracteristicas do produto. A recolha de dados primarios foi efetuada atraves de um questionario online e posteriormente analisados atraves do SPSS. A analise as respostas demonstrou que ter uma experiencia previa na compra de SHC influencia a percecao que os consumidores tem das barreiras. Os resultados indicam tambem que o constrangimento social e o fator que influencia mais negativamente a compra de roupa em segunda mao, tal como o desconhecimento dos consumidores relativamente aos canais disponiveis para este tipo de compra. Assim, recomenda-se que as lojas de roupa em segunda mao estabelecam estrategias de marketing com o intuito de publicitar, mas tambem de desmistificar e educar o consumidor sobre este mercado.
The purchase of second-hand clothing (SHC) is a growing method of clothing consumption. However, due to all the benefits that this method presents, consumer adherence is not as high as it could be. Several studies have explored the main motivations, but few have focused on the factors that prevent consumers from adopting this consumption behaviour. This study intends to identify barriers through the differences in the perception of experienced and inexperienced consumers in second-hand clothing purchase. The most frequent motivations and some of the already identified barriers to the purchase SHC were selected from the literature, and grouped in three constructs, consumer perceptions, purchase environment and product characteristics. The collection of primary data was conducted through an online questionnaire and subsequently analysed using the SPSS. The analysis of the responses showed that having previous experience in purchasing SHC influences the perception that consumers have of the barriers. The results also indicate that Social Embarrassment is the factor that most negatively influences the purchase of SHC, as well as the consumers' lack of knowledge regarding the channels available to this type of purchase. On this basis, it is recommended that SHC stores establish marketing strategies not only with advertisement purposes but also to educate consumers about this market.