Relevant bibliographies by topics / Fashion Philosophy

Academic literature on the topic 'Fashion Philosophy'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Fashion Philosophy"

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Hanson, Karen. "Dressing Down Dressing Up—The Philosophic Fear of Fashion." Hypatia 5, no. 2 (1990): 107–21. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00420.x.

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There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes.
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Burcikova. "Introduction: Fashion in Utopia, Utopia in Fashion." Utopian Studies 28, no. 3 (2018): 381. http://dx.doi.org/10.5325/utopianstudies.28.3.0381.

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Abate, Elena. "Fashion as an Aesthetic Form of Life." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 53–69. http://dx.doi.org/10.52685/cjp.21.1.4.

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Fashion is an aesthetic practice that concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein’s later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of “form of life” with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a “form of life”. Specifically, I shall argue that fashion is an “aesthetics form of life” which structurally employs a language of an aesthetic type ––one with a specific grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identification/diversification typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a “form of life”, and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein’s aesthetic notions can coherently be related to fashion as well: concepts such as ‘aesthetic reaction’, ‘gesture’, and ‘correctness’ will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.
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Arnold, Rebecca. "Reflections on Dress: Discussions of Philosophy, Identity and Fashion." Art History 36, no. 5 (October 22, 2013): 1099–100. http://dx.doi.org/10.1111/1467-8365.12055.

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Stasiulyte. "Imagining a Future of Sonic Fashion." Utopian Studies 28, no. 3 (2018): 547. http://dx.doi.org/10.5325/utopianstudies.28.3.0547.

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Gunawardena, Harinda, and Udaya Wickramasinghe. "Materialising Gender-fluidity through Fashion." Bolgoda Plains 01, no. 01 (October 2021): 08–09. http://dx.doi.org/10.31705/bprm.2021.7.

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As the final year comprehensive design project for the Honours Degree of Bachelor of Design, Department of Integrated Design, Faculty of Architecture, University of Moratuwa, I have selected a project which is based upon my own clothing brand. It is an emerging ready-to-wear clothing brand based in Sri Lanka, which was launched in August 2020 through the Colombo Fashion Week named “HARID”. Currently, HARID retails at the Design Collective store in Colombo for a consumer group based upon it. The brand philosophy of HARID is to challenge gender-related stereotypical concepts. As the brand identity, HARID uses heritage craft practices.
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Andraş, Sonia. "Fashioning simultaneous migrations: Sonia Delaunay and inter-war Romanian connections." Critical Studies in Fashion & Beauty 13, no. 2 (December 1, 2022): 229–53. http://dx.doi.org/10.1386/csfb_00047_1.

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This article analyses the connections between the worlds of fine art and fashion through the complex interconnections between the Parisian-Eastern European creative exile. It follows the common threads between Ukrainian-Jewish artist and fashion designer Sonia Delaunay (1885–1979) and prominent inter-war Parisian Romanians: namely, Tristan Tzara, Constantin Brâncuși and Lizica Codreanu. I suggest the concept of ‘simultaneous migrations’ to illustrate fashion’s mobility beyond and across cultural differences, identities and aesthetics through Sonia Delaunay’s philosophy of Simultaneity, focusing on her inter-war Romanian connections in Paris. The research bridges across the fields of fashion studies, art history and cultural studies, in order to explicate the synapses that shed light on Sonia Delaunay’s ideas of Simultaneity and colour theories to Paris as an ideological, cultural, artistic and identity hub.
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Ingram, Susan. "Fashion in Parisian Modernity." European Legacy 14, no. 4 (July 2009): 471–72. http://dx.doi.org/10.1080/10848770902999583.

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Shea, Peter M. "Human Play in Simmel’s Philosophy of Fashion Some Sociological Perspectives." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 79–86. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35473.

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Bancroft, Alison. "Fashion: A Philosophy by Lars Svendsen. Translated by John Irons." Fashion Theory 12, no. 3 (September 2008): 393–95. http://dx.doi.org/10.2752/175174108x332369.

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Dissertations / Theses on the topic "Fashion Philosophy"

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D\'Almeida, Tarcisio. "As roupas e o tempo: uma filosofia da moda." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-01032019-115313/.

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Pensar a moda como tema de reflexão é muito significativo pois, em sua perspectiva benjaminiana e frankfurtiana, é a questão da gênese da noção de gosto e suas metamorfoses na época do niilismo e na desvalorização de todos os valores que esse trabalho analisa a moda como dimensão temporal sob os auspícios do mercado e do capital que tudo transformam em produtos descartáveis. Neste sentido, das reflexões gregas sobre o ritual vestimentário ao Renascimento, do vestir-se de Corte à sua democratização, é o tema do ser e do não-ser que organizam a tese, que se propõe a contribuir para a compreensão do mal-estar contemporâneo do fenômeno da imitação de comportamentos sociais em função de modelos e a extensão do fenômeno da anorexia e da perda dos laços de philia social.
To think fashion as a subject for reflection is very significant because in its Benjaminian and Frankfurtian perspective it is the question of the genesis of the notion of taste and its metamorphoses in the era of nihilism loss of all the values that this work analyzes: fashion as a temporary dimension under the auspices of the market and capital that transform everything into disposable products. In this sense, from the Greek reflections on the ritual dressing to the Renaissance, from dressing in the Court to the democratization of fashion, it is the theme of being and non-being that organizes the thesis, which proposes to contribute to the understanding of the contemporary malaise with the phenomenon of the imitation of social behaviors in function of models and the extension of the phenomenon of anorexia and the loss of ties of philia social.
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Hellgren, Amanda, and Anastasia Partanen. "Becoming-Fashion : Begäret efter övermänniskan." Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12350.

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Vi vill med det här kandidatarbetet ifrågasätta begäret efter övermäniskan som vi menar att reklam för modeindustrin idag porträtterar. Med hjälp av Guy Debords skådespelssamhälle och Gilles Deleuze och Felix Guattaris teorier ifrågasatter vi vad det är vi begär och varför vi gör det. Vi ifrågasätter övermänniskan som modeindustrin producerar med förhoppningen att det ökar medvetenheten för personer i samhället.    Ifrågasättandet av begäret har resulterat i två gestaltningar, en klänning av sönderrivna sidor ur boken Mein Kampf och en kreation av hönsnät formad som en naken kvinna. Vi känner oss fångade av modeindustrin och känner oss illa till mods över hur den mänskliga kroppen porträtteras i reklam för mode. Vi menar att det i klädreklam snarare handlar om avsaknaden av den mänskliga kroppen då bilderna retuscheras till en artefakt.     Vi ser vår undersökning som en grund till en fortsatt undersökning om ett alternativ och förhoppningsvis kommer vårt begär i framtiden förflyttats från övermänniskan till något mer mänskligt.
In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness.    The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact.    We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human. In this Bachelor thesis we question the desire for the übermensch that we mean advertising for the fashion industry portrays today. With help of Guy Debord's “Society of the Spectacle” and Gilles Deleuze and Felix Guattari's theories we question our desire and why we desire it. We question the übermensch that the the fashion industry produces with the hope that it will increase the society’s awareness.    The questioning of desire has resulted in two designs, a dress of torn pages from the book Mein Kampf and the creation of chicken wire shaped like a naked woman. We feel trapped by the fashion industry and feel uneasy about how the human body is portrayed in advertisements for fashion. We believe that the advertising for clothing is more about the lack of the human body when the images are retouched into an artifact.    We see our study as a basis for a continued research for an option and in the future hopefully our desire will be moved from the übermensch into something more human.
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Collins, Lucy Faith. "Fashion in Bad Faith: Framing the Clothed Self in an Existential Phenomenological Lens." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/201934.

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Philosophy
Ph.D.
This project outlines, through a discussion of Jean-Paul Sartre's theory of sadistic and masochistic manifestations of embodiment as forms of bad faith, relationships to clothing, especially those conditioned by the fashion industry. Through an analysis of the concept of a disguise, I argue that the fashion industry encourages consumers to play what I call a game of fashion. This game involves hiding from one's freedom through self-deception while interacting with seemingly replaceable others. Clothing enables one to engage in a two-fold disguise - hiding one's freedom from oneself and evading intersubjective relations with others. In bad faith, one wears the self falsely while immersing oneself in a game of false interactions with others. Bad faith is a two-fold assault on the self and the basic make-up of social life. Within the contemporary milieu of Western consumer society, fashion is a ready accessory for the performance of bad faith. This study is an examination of such phenomena. A contemporary attitude toward clothing, or fashion, is that particular garments are able to "remake" the self - as if what adorns the body were all there is - and that it can hide the self through such adornment because the "real self" supposedly exists elsewhere. This perspective on fashion, and by extension, the body, depends on a Cartesian severing of mind and body - the exact attitude that informs bad faith. These two approaches to fashion are examples of assertions of the self as a material thing on one hand and the assertion of the self as a complete transcendence on the other. Both are forms of bad faith. Instead of thinking of fashion as a mask beneath which there is either nothing or the body beyond which there is the real transcendent self, I argue for thinking of clothing as a veil where the garment naturally conceals through acts of revelation, but what is concealed and what is revealed are never complete. Such a conception involves maintaining a distinction between public and private, while acknowledging there being something beneath that could be known and, through the cultivation of intersubjective relations, offer a richer understanding of the ways in which clothing affects intimate relationships.
Temple University--Theses
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Flygare, Clara. "Eternity Now." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20733.

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Eternity Now is a collection of 7 outfits on witch I haveprojicised my will.This made the collection:* The philosophical “studios”/ places for big thinking- thebotanical garden in Gothenburg, Schloss Shönbrunn in Vienna.Nature is the only thing we really need. It’s the maininspiration for shape and colour. The art of balance.* Bodil Malmsten & Owe Wikström. Authors that in poeticways speak of time, process and nature. Existentialists thathave made this method possible, a method that is compareableto Bodil Malmstens way of writing books. You knowyou can, but you don’t know when you can. And that is ok,if it works in the end.* Alchemy as natural philosophy and graphic art. Made theprints and views on life in general.* Slowfashion/ Sustainable fashion. The only right way tothink about clothes theese days. We can’t go any faster thanthis if we want to keep the planet. This work is related toideas of slowfashion.
Program: Modedesignutbildningen
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Amoah, Maame A. "FASHIONFUTURISM: The Afrofuturistic Approach To Cultural Identity inContemporary Black Fashion." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent15960737328946.

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Kusina, Jeanne Marie. "Seduction, Coercion, and an Exploration of Embodied Freedom." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1403637510.

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Lavonius, Jakob. "Utopi och fetisch : Modets repressiva och utopiska dimensioner hos den sene Walter Benjamin med utgångspunkt i hans historiefilosofi." Thesis, Södertörns högskola, Filosofi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32292.

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”Fashion is the eternal recurrence of the new. Are there nevertheless motifs of redemption precisely in fashion?” This question, left unanswered in Walter Benjamin’s late text “Central Park”, is the point of departure for this thesis. Benjamin is both adamant and explicit in his critique of fashion’s alienating influence on the collective, but despite this he seems at times to ascribe to it some kind of revolutionary potential. The most well-known instance of this is the 14th thesis of “Theses on the Concept of History”. There, Benjamin compares the ”tiger’s leap” of sartorial citation to the historical leap of the Marxist revolution. Employing Benjamin’s philosophy of history as a theoretical framework, this thesis examines the roles ascribed to fashion in The Arcades Project, in order to elaborate on its political potential in Benjamin’s late thinking, as well as to understand this potential in light of Benjamin’s critique of fashion as fetishism and phantasmagoria.
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Kethro, Philippa. "Pedagogical ways-of-knowing in the design studio." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1004338.

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This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.
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Costa, Leahy Renata. "La métaphore du cintre : corps et apparition dans les défilés de mode." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100168/document.

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Les défilés de mode mettent en scène des propositions visuelles sur les corps humains, habituellement ceux des mannequins minces. Dans le contexte contemporain, elles sont vantés comme des canons de beauté, mais d’autre part sont remises en question sur la réalité de leurs formes corporelles et la qualité de leur présence et de leur action sur les podiums: elles sont souvent vus comme des cintres de vêtements. Cependant sont eux qui conforment, avec les vêtements, des figures humaines, par des attitudes qui visent la composition des types de possibilités d’apparition. Notre étude se concentre dans le processus de ce mettre en forme, à travers de l’enquête sur les corps vêtus de défilés de mode, en utilisant comme exemples d'analyse quatre labels/créateurs brésiliens à la saison d'octobre 2016 de la São Paulo Fashion Week: Animale, Lab, Água de Coco et Ronaldo Fraga. Nous partons de la compréhension des visuels présentés dans des défilés de mode en tant que corps habillés, dans lesquels le corps et le vêtement travaillent ensemble pour la composition de la forme; et la capacité cinétique des corps et des vêtements, un élément qui dynamise les visuels. Cette activité réalisatrice des corps habillés dans les défilés de mode, leur action et mouvements corporels, sont de la compétence de leur dimension sensible, donc, en relation avec la culture et l'espace de manière intersubjective. Une telle réflexion nous invite à prendre en compte la relation des corps avec les types de défilés et ses éléments, tels que l'endroit, le son, les accessoires, toute l'atmosphère symbolique de la présentation, qui dirige les façons d'apparition des corps. Les corps habillés en défilés de mode se révèlent ainsi comme des formes complexes, sensibles et expressives des fuites corporelles
The fashion shows place to visuality dressing proposals on human bodies, generally those of the thin models. In the contemporary context, sometimes they are praised as canons of beauty, and at other times they are questioned about the reality of their corporal shapes and the quality of their presence and action on the runways: they are often seen as clothing hangers. But they are the ones who, allied to the clothes, conform human figures, in attitudes that aim the composition of possibilities of apparition. Our study investigates the process of this put in form, by examining the dressed bodies in fashion shows, using as examples for analysis the bodies in runways of four brazilian brands/designers of the October 2016 season of São Paulo Fashion Week: Animale, Lab, Água de Coco and Ronaldo Fraga. We start from the comprehension of the visuals presented in fashion shows as dressed bodies, in which body and clothes work together for the composition of the form in possibilities of combinations; and the kinetic capacity of body and clothing, an element that dynamizes the human visual. In this sense, we look for this realization of the dressed bodies in fashion shows through their action and their body movements, which are the competence of their sensitive dimension, related, therefore, with culture and space in an intersubjective way. Such a thought urges us to take into account, in this studied put in form, the relation of bodies with the types of fashion shows and with their elements, such as location, sound, props, the whole symbolic atmosphere of the elaborated presentation. The dressed bodies in fashion shows are thus revealed as complex, sensitive and expressive shapes and forms of body leaks
Os desfiles de moda colocam à visualidade propostas vestimentares sobre corpos humanos, geralmente os das modelos magras. No contexto contemporâneo, ora são elogiadas como cânones de beleza, ora questionadas quanto à realidade de suas formas corporais e à qualidade de sua presença e ação nas passarelas: são tidas, em muitos momentos, como cabides de roupas. Mas são elas que, aliadas às roupas, conformam figuras humanas, em atitudes que miram a composição de possibilidades de aparição. O nosso estudo se debruça sobre o processo desse por em forma, investigando os corpos vestidos de desfiles de moda, utilizando como exemplos para análise quatro marcas/designers brasileiros da edição de outubro de 2016 da São Paulo Fashion Week: Animale, Lab, Água de Coco e Ronaldo Fraga. Partimos da compreensão das visualidades apresentadas em desfiles de moda como corpos vestidos, em que corpo e roupa operam juntos para a composição da forma em possibilidades de combinações; e a capacidade cinética de corpo e roupa, elemento que dinamiza a visualidade. Nesse sentido, atentamos para essa realização dos corpos vestidos nos desfiles de moda por meio de sua ação e movimentos corporais, que são da competência de sua dimensão sensível, se relacionando, portanto, com a cultura e o espaço de maneira intersubjetiva. Tal fato nos instiga a ter em conta, no por em forma estudado, a relação dos corpos com os tipos de desfiles e seus elementos, como locação, som e adereços, toda a atmosfera simbólica da apresentação elaborada, que direciona as maneiras de aparição do corpo. Os corpos vestidos de desfiles de moda se desvelam, assim, como formas complexas, sensíveis e expressivas de vazamentos corporais
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Jovanovski, Natalie. "Digesting Femininities: an Examination of Body-Policing Attitudes in Popular Discourses on Food and Eating." Thesis, 2014. https://vuir.vu.edu.au/29724/.

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Feminist and psychological literature has long established a link between women’s often conflicted relationship with food and social discourses that reinforce harmful notions of the ideal female body and the need for bodily self-surveillance. However, new cultures around food and eating have emerged which purport to offer different ways to connect with food. One feature of these gendered discourses is their use of feminist terminology and ideas of empowerment and emancipation. This thesis sets out to explore popular cultural discourses on food and eating by examining recent, best-selling diet books and cookbooks written by women and the iconic feminist texts that have inadvertently helped shape them. The thesis will argue that together, these food and eating-related discourses reinforce and normalise body-policing gender norms and body-centric attitudes, despite their broader aims to challenge these ideas. By viewing these texts through a feminist post-structuralist lens, and employing methodological tools from critical discourse analysis, this thesis attempts to move beyond individualistic, body-centric approaches that dominate existing literature. It aims to fill a gap in this literature and in current debate by examining different cultural discourses for the ways body-surveillance messages are normalised and perpetuated. It advances the idea of ‘food femininities’ to describe the multiple means by which authors of diet books, cookbooks and iconic feminist texts instantiate and reproduce body-policing narratives. It concludes that these apparently new discourses on food and eating, like the discourses that preceded them, promote similarly harmful, self-objectifying attitudes in women.
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Books on the topic "Fashion Philosophy"

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Wolfendale, Jessica, and Jeanette Kennett, eds. Fashion - Philosophy for Everyone. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.

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Berry, Carol. Discount grocery retailing: Fashion or philosophy? Watford: IGD Business, 1993.

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1973-, Wolfendale Jessica, ed. Fashion: Philosophy for everyone : thinking with style. Malden, MA: Wiley-Blackwell, 2011.

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Kang, Eun Jung. A Dialectical Journey through Fashion and Philosophy. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-15-0814-1.

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Quinn, Bradley. The fashion of architecture. Oxford, UK: Berg, 2003.

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The fashion of architecture. New York: Berg, 2003.

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Cold modernism: Literature, fashion, art. University Park, Pa: Pennsylvania State University Press, 2012.

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H, Svendsen Lars Fr. Mote: Et filosofisk essay. Oslo: Universitetsforlaget, 2004.

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Arabatzis, Stavros. Versenkung ins Äussere: Elemente einer Theorie der Mode. Wien: Passagen, 2004.

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Arabatzis, Stavros. Versenkung ins Äussere: Elemente einer Theorie der Mode. Wien: Passagen, 2004.

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Book chapters on the topic "Fashion Philosophy"

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Pappas, Nickolas. "The Naked Truth of Antifashion Philosophy." In Fashion Statements, 143–58. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115408_18.

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Ashwell, Lauren, and Rae Langton. "Slaves to Fashion?" In Fashion - Philosophy for Everyone, 135–50. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch9.

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Collins, Louise. "Fashion Dolls and Feminism." In Fashion - Philosophy for Everyone, 151–65. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch10.

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La Caze, Marguerite. "A Taste for Fashion." In Fashion - Philosophy for Everyone, 199–214. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch13.

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Zangwill, Nick. "Fashion, Illusion, and Alienation." In Fashion - Philosophy for Everyone, 31–36. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch2.

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Kang, Eun Jung. "Fashion and Philosophy: An Overview." In A Dialectical Journey through Fashion and Philosophy, 1–24. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-15-0814-1_1.

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Russell, Luke. "Tryhards, Fashion Victims, and Effortless Cool." In Fashion - Philosophy for Everyone, 37–49. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch3.

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Wolfendale, Jessica, and Jeanette Kennett. "Introduction." In Fashion - Philosophy for Everyone, 1–12. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch.

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Farennikova, Anya, and Jesse Prinz. "What Makes Something Fashionable?" In Fashion - Philosophy for Everyone, 13–30. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch1.

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Pierlott, Matthew F. "Sweatshops and Cynicism." In Fashion - Philosophy for Everyone, 167–85. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444345568.ch11.

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Conference papers on the topic "Fashion Philosophy"

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Xu, Huijie. "Female Identity and Construction in Fashion—Based on Simmel’s fashion philosophy." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.437.

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Särmäkari, Natalia, and Annamari Vänskä. "Open-Source Philosophy in Fashion Design: Contesting Authorship Conventions and Professionalism." In Design Research Society Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/drs.2020.195.

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Deo, Hrishikesh V., Ajay Rao, and Hemant Gedam. "Compliant Plate Seals: Design and Performance Simulations." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-69348.

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Compliant Plate Seals are being developed for various turbomachinery sealing applications including gas turbines, steam turbines, aircraft engines and oil & gas compressors. These seals consist of compliant plates attached to a stator in a circumferential fashion around a rotor. The compliant plates have a slot that extends radially inwards from the seal outer diameter, and an intermediate plate extends inwards into this slot from stator. This design is capable of providing passive hydrostatic feedback forces acting on the compliant plates that balance at a small tip–clearance. Due to this self–correcting behavior, this seal is capable of providing high differential pressure capability and low leakage within a limited axial span, and non–contact operation even in the presence of large rotor transients. CFD models have been developed to predict the leakage flow rates and hydrostatic lift and blowdown forces, and a design philosophy is proposed to predict the feedback phenomenon from the CFD results.
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Deo, Hrishikesh V. "Compliant Plate Seals for Turbomachinery Applications." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64871.

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In this paper, a novel GE Compliant Plate Seal is proposed that consists of compliant plates attached to a stator in a circumferential fashion around a rotor. The compliant plates have a slot that extends radially inwards from the seal outer diameter, and an intermediate plate extends inwards into this slot from stator. This design is capable of providing passive hydrostatic feedback forces acting on the compliant plates that balance at a small tip-clearance. When the tip-clearance reduces below the equilibrium clearance, the hydrostatic lift forces cause the compliant plates to lift away from the rotor. Conversely when the tip-clearance increases above the equilibrium clearance, the hydrostatic blowdown forces cause the compliant plates to blow down towards the rotor. Due to this self-correcting behavior, this seal is capable of providing high differential pressure capability and low leakage within a limited axial span, and non-contact operation even in the presence of large rotor transients. Simplified CFD models have been developed to predict the leakage flow rates and hydrostatic lift and blowdown forces, and a design philosophy is proposed to predict the feedback phenomenon from the CFD models. The proposed models are validated and self-correcting behavior is demonstrated through experimental testing.
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Mansour, M., S. Hingorani, and Y. Dong. "A New Multistage Axial Compressor Designed With the Apnasa Multistage CFD Code: Part 1 — Code Calibration." In ASME Turbo Expo 2001: Power for Land, Sea, and Air. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/2001-gt-0349.

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The NASA Average-Passage multistage turbomachinery flow analysis code “APNASA” by J.J. Adamczyk (1985) has been validated, calibrated, and demonstrated at Honeywell Engines and Systems for the design of multistage axial compressors. APNASA was first calibrated against test data of two existing compressors and then used as a design tool in the design of a new modern multistage axial compressor. The results of the calibration, design effort, and the data measurements are presented in this two-part paper. In the present paper (Part 1) the results of the calibration for two multistage axial compressors are presented. The first compressor consists of four axial stages that were designed in the mid 1980s. The second compressor consists of three axial stages and was designed in the mid 1990s using viscous, three-dimensional CFD code, with airfoil optimization performed in single blade row fashion. The calibration work was aimed at developing meshing and modeling best practices and validating the code capability to simulate flow behavior in a multistage environment. Predictions are compared with test data for the axial compressor overall performance, individual stage performance, and detailed radial profiles at the stator vanes leading edge planes, throughout the compressor. Results show good agreement between APNASA predictions and measurement data. In particular, the results clearly demonstrate the ability of APNASA to capture the stage matching of multistage machines. As a result of this calibration/validation work, a new multistage axial compressor was subsequently designed, by using APNASA as the primary source of information for airfoil optimization (presented as Part 2 of this paper). Test results for the new compressor reveal that the design achieved its performance and operability goals in its first build. Details of the compressor design philosophy using APNASA and the comparison between APNASA simulation results and test data are presented in Part 2.
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Ortiz Requena, Jhon Robert, Maryvi Yabet Santiago Martinez, Fatmah Mohamed Alshehhi, Fareed Ahmad Daudpota, and Ahmed Mohamed Fawzy. "Improving Well and Reservoir Management Practice Through New Flow Control Philosophy that Prolongs the Life of Production Wells Affected by Water Breakthrough in A Giant Carbonate Oil Field, Abu Dhabi, United Arab Emirates." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205978-ms.

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Abstract X Field located in the United Arab Emirates has been developed since 1970's by waterflooding as secondary recovery strategy. As water front advances into oil bank, the well operation practice commonly adopted in many fields for oil wells cutting water has consisted in reducing choke aperture in an attempt to control the water cut trend. However, in wells producing moderate to high water cut, this practice has proven to generate excess water settling in the bottom of the wellbore leading to premature inactivation of the wells. The reservoir Z in the north of X Field, is a black oil block operated by peripheral and pattern waterflooding. The production wells have been operating by natural lifting since first oil and will continue in natural flow until the Artificial Lift projects are commissioned within a few years. Meanwhile, the field production plateau has been increased arising challenges of production sustainability due to higher risk of acceleration of water breakthrough and consequently higher number of wells becoming inactive earlier. This led to re-assess the Well and Reservoir management strategy to define improved practices oriented to maximize the natural life cycle of wet wells and ensure the compliance of the field production quota. As a result, a new well management approach was devised and adopted to identify and optimize at the earliest stage, wells potentially affected by water loading mismanage. Conceptually, this new practice consisted in comprehensively analyzing well operating conditions, which ultimately generated a flow operating window that improved the multiphase flow performance in wellbores, minimized water slippage avoiding it to settle down and its associated problems, whilst respecting the compliance of technical guidelines for optimum reservoir management. Based on observations and data gathered from portable testing jobs, saturation logs, PLT and production monitoring; a methodology referred in this work as Critical Flow Analysis, has been successfully implemented in several naturally flowing wells with water cuts ranging from 15 – 40 % in Reservoir Z in X Field, which resulted in prolonged natural life, extra oil recovered, and avoided the negative impact of inactive string count on the Field Management KPI. The Critical Flow analysis has been a comprehensive well management evaluation and operation philosophy in Reservoir Z which helped to manage more efficiently and in cost-saving fashion the performance of oil wells located in high risk areas, in addition to contribute with stablishing best practices for well and reservoir management that could be extended to analog fields in the area.
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Romãozinho, Mónica. "Somewhere Between Architecture and Jewelry." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001366.

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Our projects talk about knowledge and experience accumulated through time, so they work like powerful memory boxes. All that information reappears when we start sketching our first exploratory drawings. Architecture always influenced the way we see and understand the world and things in general, the “real” architecture which surrounds us every day, but maybe in a particular way the imaginary one that we can discover through set design projects, ephemeral exhibition design, even visionary drawings related to unbuilt ideas. We aim to demonstrate that jewels and architecture can share fundamental principles. When we look at a jewellery piece, we can observe its volumetric, how does light and shadow model the piece, the scale, the contrast between full and empty spaces, the composition, the sense of horizontality or verticality, its symmetry or asymmetry, its ergonomics, among other aspects but how can we relate to this intriguing object, what kind of emotions can it arouse in us? Perhaps we can play with similar feelings in other scales. In this perspective, our article focuses on the relation between architecture and jewellery applied research considering the philosophy “learning-by-doing” pursued by Charles and Ray Eames, inspiring and timeless references from the past. We follow a design methodology that implies continuous research about other authors and movements, the continuous selection of waste objects and materials, the development of sketches along with all the processes, and experimental prototyping. On the other hand, we incorporate specific goals related to product sustainability since the beginning of the present projects, namely upcycling. The main goals transversal to these experimental series consists of exploring space as a concept, interaction, and, at last, wearability. The jewel itself can have a strong presence in a certain way very close to the artwork but it is created and materialized for real people so we prefer to think about it as design because it is supposed to be owned and appropriated by someone and to contribute simultaneously to communicate their personality, to break with typified and mass fashion design, to conquer an immaterial dimension, to provoke emotion the moment we “dress” it.
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Susta, Miro R., and Peter Luby. "Compatibility of Advanced Power Generation Technologies With the Independent Power Production." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-222.

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Traditional philosophy of power producing state-owned utilities has been effected by their anonymous risk-sharing attitude. They needn’t have bothered too much with brand-new technologies. Technological risk with unproved, although excellent nominal performance machinery was born by the end-users. On the other hand, independent power producers’ (IPP) philosophy is a little bit different. Their attitude is much more effected by risk evaluation. They have pretty good reasons to be risk-averse with technologies lacking a proven operational record. Any failure to obey their contractual liabilities could mean dramatic consequences to them. Consequently, old-fashioned players in the power generation industry may seem to have been pushing industry technical progress more effectively ahead than it would be with modem players - IPPs. But this is only one side of the coin. Quite opposite reasons for IPPs’ affinity to modern technologies are higher performance parameters which offer better revenues to them, more flexible choice of fuel and prompt readiness to react sensitively to market imbalance and volatilities. Obviously, a hardly-defined, yet sensible equilibrium under which both these trends coexist and inter-act here exists. In this paper we shall analyse factors affecting such equilibrium by presenting real examples of gas turbine-dependent power generation technologies.
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