Tesis: "Fashion Designers"

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Beattie, Olivia Lucy Elizabeth. "Communicating identities: new zealand fashion designers and creative exports". The University of Waikato, 2009. http://hdl.handle.net/10289/2786.

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This thesis investigates how New Zealand fashion designers construct and communicate a unique and fluid identity. There are two main focuses of the research. The first is how New Zealand fashion designers build and maintain a unique brand identity in the New Zealand market. This includes an in-depth analysis of the public relations and communication strategies both emerging and established fashion designers use. The second focus is how New Zealand designers communicate their brand identity to export markets. This includes an examination of how the New Zealand national identity has an effect on the communication of their identity in international markets. This research is important as there is little scholarly research on the creative industries in New Zealand, and none on the New Zealand designer fashion industry. Therefore, this research study has been developed to advance literature in this area and provide a basis for further research. While this research study will focus on the New Zealand designer fashion industry, it is hoped that the research will be applicable to other creative industries in New Zealand. A key element of this research is to use the in-depth analysis of the designer fashion industry to provide recommendations on identity management for the New Zealand designer fashion industry and creative industries. Ultimately, this research provides these industries with a practical guide to create and communicate a unique identity in both domestic and export markets. A collective case study method is used to collate the data and is analysed through an interpretive framework. The New Zealand fashion designers that comprise the case studies are Annah Stretton, Robyn Brooks, Jo Robertson, and Cyb le Wiren. Key conclusions are that organisations in the creative industries need to put together an in-depth communications plan as early as possible in their business. This should focus on the creation and communication of a unique and fluid identity in order to differentiate themselves from their competitors and allow them to actively respond to their environment. Industry bodies and New Zealand Trade Enterprise play a key role in the development and export of creative organisations. These organisations need to develop better resources and support systems for the creative industries in order for them to reach their maximum potential.

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2

Romaniuk, V. P. "Ukrainian Culture in the Context of World's Fashion". Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8394.

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3

Falsken, Joycelyn. "Charles Kleibacker, master of the bias cut : designs, construction and techniques". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1197564134.

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4

Booth, Gayle J. "Women Entrepreneurs : A Study of Fashion Designers of Great Britain". Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504786.

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Women represent around 30% of Great Britain's entrepreneurs. They constitute a dynamic and substantial force in the economy. Their rate of participation as entrepreneurs is significantly lower than that of men. Previous research has sought to understand the experiences of women entrepreneurs in order to explain this under representation. However, much of this work has consulted with women as entrepreneurs which own businesses across a variety of industries. Research into defined industries is limited and research on fashion designers specifically is virtually non-existent. This pioneering study bridges the academic fields of entrepreneurship and fashion design, exploring the experiences of British women entrepreneurs as designers in the fashion industry. The study pursued four important themes: development of the profiles of British women entrepreneurs as designers in the fashion industry; determination of their home and work past and current responsibilities; identification of the barriers encountered in childhood, education, professional and business development; and exploration of the impact of gender on their experiences as designers in the fashion industry. The methodology of the study employed in depth interviews with 30 women entrepreneurs of Great Britain who are/were fashion designers. The sample included those who were in early, mid, established and post business. The interviews were carried out face to face and over the telephone. Qualitative analysis of the data focused on exploring the differences and similarities of women entrepreneurs' experiences. The fmdings suggest that social, industrial and economic factors appear to marginalise British fashion designers from growing their business substantially and that they had encountered negative attitudes based on their gender. However, the entrepreneurs were found to turn such experiences into positive outcomes with many of them growing international labels playing important roles in a matrix of industries and the economy. Manufacturing and accessing fmance were the two main challenges faced. The research focus spanned the life course trajectory revealing how coping with adverse circumstances also increased an awareness of ethical business considerations. They possessed elements of social entrepreneurship that were paramount to business through design and/or philanthropic activities. On work and home responsibilities, 43% were childless the remainder revealed feelings of stress and grief due to separation from children. As children, they acted in non-traditional ways which were embraced by their fathers, whereas mothers tended to push their daughters into education. Paternal grandmothers were revealed to be entrepreneurs. Recommendations are made for individuals and organisations of ways in which the potential of British women fashion designer entrepreneurs could improve. The limitations of the study and implications for future research are also discussed.

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5

Klymenko, O. "Eccentric Decisions for the Fashion Design". Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8475.

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6

Lindgren, Timothy T. "Fashion in Shanghai : the designers of a new economy of style". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67803/2/Timothy_Lindgren_Thesis.pdf.

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This thesis is a study of Chinese fashion designers in Shanghai. It shows fashion designers are building businesses, forging their professional reputations and developing a design aesthetic. Some designers are extremely successful in applying some elements of Chinese philosophy to their work, such as Buddhism, Confucianism and Daoism. In doing so, they challenge the dominance of the European fashion system with a new global fashion system.

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7

Heim, Hilde. "Fashioning business: Updating support for local, small-scale independent fashion designers". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/122563/1/Hildegard_Bennett%20Heim_Thesis.pdf.

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Small-scale fashion designer businesses are emerging in many locations, including in cities not known as fashion centres, such as Brisbane. This study identifies the factors that contribute to business success or failure, not least of which is the support owner-designers receive during the life cycle of their business. The study revealed that a complex set of requirements is needed to support those practices, including access to relevant and credible information, community interaction and tailored mentoring. The study resulted in the development of an online resource to support independent designers to build successful and resilient local fashion businesses.

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8

Keet, Philomena Benedicta Camelia. "Mimicking in a material world : negotiating stylish selves and networks in a Tokyo youth fashion scene". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602392.

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9

Song, Hyunjoon. "The Scandinavian Cooperative Advantage of Fashion : A Study of Swedish Fashion Brands". Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-315259.

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In recent years the fashion industry has experienced a high frequency of famous Creative Directors departing the companies for unknown reasons. The same problem does not seem to occur in the Scandinavian fashion industry. This study’s purpose is to explore why Scandinavia does not experience the same problem, contribute a deeper understanding of the leader-designer relationship in the Swedish fashion industry, and to examine how the Scandinavian Cooperative Advantage is applicable in the Swedish fashion industry. Three case studies were conducted at the Swedish fashion companies TRIWA, Baron and Weriseg where both leaders and designers were interviewed. The findings showed that the leaders view their designers as an essential part of the organisation but how they are prioritised depend on the situation. Further more, this study indicates that all of the studied companies have a stakeholder approach, uses a value creating strategy based on cooperation with their stakeholders, are aligned with a typical Swedish organizational culture, and has a Swedish Management Style. Thus this study indicates that the notion of Scandinavian Cooperative Advantage is applicable at the Swedish fashion industry and that this might be a factor for their success.

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10

Robinson, Rebecca J. "American Sportswear: A Study Of The Origins And Women Designers From The 1930’s To The 1960’s". Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1054926324.

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11

Metcalfe, Jessica RheAnn. "Native Designers of High Fashion: Expressing Identity, Creativity, and Tradition in Contemporary Customary Clothing Design". Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194057.

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American Indian traditional art forms have been reincarnated by contemporary Native designers and placed on human bodies in the form of haute couture. This project examines culture and identity through a historical and sociocultural analysis of contemporary Native American clothing design. This project focuses on the use of clothing design and adornment to promote cultural traditions and maintain a `Native' identity. I equate this communicative use of design with the traditional role of storytelling: it allows Native designers to express, interrogate and subvert notions of Indianness; to create and perpetuate cultural traditions; to enhance aesthetic aspects of dress design; and to build and maintain community.This project explores the world of Native high fashion, and provides a cultural contextualization and analysis pertaining to identity, creativity, and tradition. I hypothesize that these contemporary designers continue the long practice of incorporating the new with the old, and, in effect, creatively carry on their cultural traditions. Whether they update Native clothing styles of the 1800s, or Indianize contemporary fashion, these designers explore how modern cuts and materials can be blended with traditional cultural design concepts and symbols to create unique, expertly constructed, artistic, and highly valued garments. These artists have taken up new materials to display their traditional art forms in innovative ways to uphold and maintain their unique cultures, and to celebrate their heritage by educating a non-Indian buying public.Using an interdisciplinary approach, I attempt to gain an insider's understanding of Native fashion by interviewing principle actors in the industry, by observing and participating in cultural and trade events, and by researching its history in archived records, stories and garments. The goal of this research is to add to the sparse literature on Native clothing, art, creativity, and identity by providing the only comprehensive critical scholarship on contemporary Native American fashion design.

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12

Payne, Alice Ruth. "Design, sustainability and Australian mass-market fashion : three case studies". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/61985/1/Alice_Payne_Thesis.pdf.

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The production of fashion garments has negative environmental and social impacts that can potentially be reduced through decisions made in the design process. This research explores to what extent Australian mass-market fashion designers consider environmental sustainability within product design. The study presents three case studies from different market levels, assembled through interviews with designers, along with an analysis of the Australian mass-market fashion industry. The project provides insights into the workings of the fashion design process within mid and high volume companies, and identifies opportunities and barriers for consideration of sustainability.

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13

Andersson, Victoria y Louise Jandér. "Social Media, Insta-Culture and The Reinvention of Fashion Week". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10147.

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Background: It is clear that the fashion industry is experiencing a change as a result of the explosion of social media. Today the four key social media platforms for fashion houses are Instagram, Facebook, Twitter and Snapchat. The society has created a culture around these media platforms, which is referred to as insta-culture. Why read Vogue magazine to find out the latest trends, when social media is covering the runways in real time? A debate about what direction the fashion industry is heading towards is a hot topic of discussion. The fashion industry has gone through changes before but now consumers have become more demanding regarding quick accessibility of fashion. Consumer behavior and the way we consume fashion has changed. An obvious sign of the change within the industry is how fashion weeks around the world have become the most coveted”it” event for celebrities and fashionistas worldwide. Fashion week is a fashion industry event that lasts around one week. The goal is for the fashion industry to network and for fashion houses to share their next season collections. Fashion weeks have traditionally been a closed, trade only-event which highlights promotional and glamorous entertainment events. However, now it is the most important shows that everyone wants to be seen at. What will become of fashion weeks is truly unknown. One thing that is for sure is that the development of social media definitely plays a vital role in the change of the industry. Aims of the research: The broader aim of this research is to analyze through the lens of fashion week, what is happening in fashion week and the driver of change within the fashion industry, social media, and to unravel why we see a change in fashion week now. The second aim is also to investigate in what way the change is affecting the way fashion is displayed at fashion weeks. Methods: This thesis was completed by gathering observations and analyzing interviews, blogs, press, journal articles, social media and observations that focused on the phenomenon of fashion week especially in the New York and Stockholm context. This qualitative method is referring to as Netnography using primarily data gathering from the internet and data from the existing interviews with people from the industry. Results: Social media has affected the fashion weeks in many ways. Today fashion brands have to include social media in their marketing strategy in order to survive in the insta-culture that reflects on the society. The insta-culture has as well resulted in that fashion week has been reinvented to an entertainment event open for everyone. The democratization of the fashion week has in turn resulted in that designers have to change how and when they deliver fashion. Instead of waiting six months for the collections to hit the stores, designers now have adopted a see now buy now model. Contributions: The result of this thesis brings awareness to people within the fashion industry and fashion theories when it comes to what is happening to the industry and how to better support fashion management strategies. Social media has created an insta-culture in the society that also affects the fashion industry. This thesis also highlights the great impact that the society has on fashion even today. This study therefore further develops the sociological theory when it comes to the impact from the society and how it affects fashion.

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14

Santos, Antonio Carlos Rodrigues dos. "A complexidade da moda: influência dos principais designers belgas e japoneses". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-20112017-195915/.

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Esta pesquisa caracteriza-se pelo estudo dos principais designers de moda pertencentes à frente japonesa e belga na década de 1980, tais como: Rei Kawakubo, Yohji Yamamoto, Issey Miyake e Martin Margiela a partir da Teoria da Complexidade, do pensador francês Edgar Morin. Tem como objetivo investigar a hipótese de que o trabalho de tais designers se estabeleceu de maneira complexa como uma força de ruptura ao questionar e subverter a moda então vigente e, sobretudo, influenciar os rumos da moda contemporânea. Para tanto, a pesquisa fundamenta-se na Teoria da Complexidade enquanto base teórica e metodológica para certificar a complexidade do trabalho destes designers, bem como a complexidade da própria moda. Parte-se da premissa de que a moda é uma ciência sistêmica, e como tal, deve ser abordada por uma visão plurilateral mediante ao agrupamento e correlação de diversas áreas e, respaldada pelo caráter de não especialização proposto pela Teoria da Complexidade, esta pesquisa perpassa por diferentes campos do conhecimento como a filosofia, sociologia, história, arte e design. Isto posto, propõe-se um estudo bibliográfico e a análise iconográfica dos designers mencionados, ainda de maneira interdisciplinar, em três vertentes distintas e complementares: ideias, tecnologia e forma; e o estudo de sua respectiva influência sobre a moda contemporânea
This research is characterized by the study of the main fashion designers from the Japanese and Belgian movements in the 1980s, including Rei Kawakubo, Yohji Yamamoto, Issey Miyake and Martin Margiela, analyzed through the perspective of the Complexity Theory created by the French philosopher Edgar Morin. The objective of this study is to investigate the hypothesis that the work of these designers was based in a complex way as a force of rupture, questioning, subversion and influence to the contemporary fashion. For this, the research is based on the Complexity Theory with theoretical and methodological bases to certify the complexity in the career of these designers and also the complexity of fashion itself. It is based on the premise that fashion is a systemic science and should be approached by a plurilateral view through the grouping and correlation of several segments and, supported by the non-specialization profile proposed by Theory of Complexity, this research studies different areas of knowledge, including philosophy, sociology, history and design. The main proposal of this research is to trace a biographical study and an iconographic analysis of the designers in an interdisciplinary way with three distinct and complementary aspects: ideas, technology and form, and also study their respective influence on contemporary fashion.

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Ridler, Sophie Joyce. "The designer perspective: Opportunities and Obstacles toward circular fashion". Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-417960.

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Circular fashion has become a favoured option for the fashion industry to transition toward as the fast fashion industry becomes unsustainable. Current research within academia, business and policy focuses on the lifecycle stages of the garments, with the designer and design phase in focus. Research on circular economy predominantly looks at material flows and the lifecycle. This however fails to acknowledge potential innovation and the capacity for this change to occur. This study uncovers the perspectives of the designer, who are largely absent from the current research agenda, in order to identify leverage points in the current system which would allow accelerated transition toward a circular fashion system. Using workshops as a method to involve designers, paired together with critical systems theory; the study first highlights a large gap between academia and reality, and reveals that there is a large misconception between designers from fast fashion and designers from luxury fashion and the power influences they allow, while, underlying internal organizational structures pose as an obstacle minimizing capacities for change. Finally, using a three horizons framework as a technique, six leverage points are identified: cultural norm, strong teams, digitalization, leadership for sustainability, education & knowledge and reducing intergenerational conflicts. Overall, the study provides a holistic view of the current environment and the transition toward circular fashion, how lifecycle phases connect to circular economy frameworks and highlights innovation and the ways in which the designer can be re-empowered. The study bridges fashion business with sustainability science in a straightforward way and sets and refines the future research on solutions and challenges.

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Spirina, Mariia. "Queer sensibility as an aesthetic of inclusion: How non-demographic designers are challenging fashion norms". Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1622212794535272.

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17

Campos, Amanda Queiroz [Verfasser]. "Of tradition and creation: the discourse of fashion designers on trend report usage / Amanda Queiroz Campos". Wuppertal : Universitätsbibliothek Wuppertal, 2017. http://d-nb.info/1148444866/34.

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18

Brydges, Taylor. "Made in Canada : The strategies, spaces and working lives of independent designers in the Canadian fashion system". Doctoral thesis, Uppsala universitet, Kulturgeografiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325176.

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Drawing on 87 interviews with independent fashion designers and key informants, this thesis is a collection of papers which aim to explore the strategies, spatial dynamics and working lives of independent fashion designers in the Canadian fashion industry. The majority of fashion design firms in Canada are small independent businesses, typically run by an individual or pair of designers, with few employees. Independent fashion designers create unique small businesses, produce high quality garments defined by the label ‘made in Canada,’ strategically mobilize physical and virtual spaces within the national system, and yet, the long-term viability of these businesses is far from certain. The Canadian fashion industry is facing a number of systemic challenges relating to wider institutional and policy weaknesses that make it difficult to grow a long-term domestic or international fashion business. However, the findings also suggest that a key strength of the Canadian fashion system is that it offers a variety of spaces for designers of different sizes, scales, and motivations. Throughout this thesis lies the tension between the quest for independence and creative freedom, which often comes at the cost of highly precarious entrepreneurial and labouring conditions. This thesis contributes to our understanding of the dynamics of ‘second tier’ fashion cities and regional systems, the entrepreneurial motivations and working lives of independent fashion designers, the locational choice decisions and the mobility of patterns of creative workers in the digital age, and the evolving nature of intermediation and value creation within the fashion industry.

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19

Almeida, Mariana Dias de [UNESP]. "A moda contemporânea e a sustentabilidade no jeanswear: estudos de caso". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/89707.

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Made available in DSpace on 2014-06-11T19:24:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-25Bitstream added on 2014-06-13T18:07:51Z : No. of bitstreams: 1 almeida_md_me_bauru.pdf: 1449986 bytes, checksum: 1655b3b62ec1fe8e1078e44944b406dd (MD5)
A moda contemporânea no Brasil passou por grandes mudanças de paradigmas. Entre as questões principais que contribuiu para essa alteração é a sustentabilidade, que tem sido um dos desafios da moda, pois, ainda se encontra as entraves que já fazem parte do conceito de design de moda, o tema que tem sido discutido amplamente no campo do design e encontra fortes ecos na área de design de moda. Assim sendo, com foco no ponto de vista da estratégia da ferramenta do Life Cycle Design no projeto de um produto de moda, seguindo orientação do design sustentável, pretende-se abordar como procede a produção do jeanswear sustentável, ou seja, constatar a veracidade do conceito de design sustentável nas campanhas publicitárias veiculadas na mídia e o processo de desenvolvimento à produção
The contemporary fashion in Brazil has undergone major paradigm shifts. Among the major issues that contributed to this change is sustainability, which has been one of the challenges of fashion, because it is still obstacles that are already part of the concept of fashion design, a topic that has been discussed widely in the field of design and finds strong echoes in the area of fashion design. Therefore, focusing on the point of view of strategy tool of Cycle Design in designing a fashion product, following the guidance of sustainable design aims to address how the production comes from sustainable jeanswear, verify the veracity of the concept of sustainable design in advertising campaigns disseminated in the media and process development to production

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Pereira, Livia Marsari [UNESP]. "Possibilidades de aprendizagem no vestuário infantil: um estudo exploratório". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/89732.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Dentre as tendências atuais para as roupas infantis encontra-se o vestuário que pode contribuir para o desenvolvimento e aprendizado das crianças por meio da interação com suas roupas. Para que a interação criança/roupa ocorra, esse vestuário deve se apropriar dos conhecimentos do design, que auxiliam na sua construção. Desta forma, esse estudo busca investigar os princípios do design que podem ser adotados para a produção de roupas que podem auxiliar no desenvolvimento das crianças, mostrando como noções de educação podem ser incorporadas ao trajes, estudando as relações e interações entre o design, moda e a educação. O estudo aborda este vestuário sob a perspectiva do design, para assim levantar informações que possam contribuir com a criação das peças. Para tanto, foi elaborado um referencial teórico que procurou mostrar o universo infantil, a comunicação, vestuáriom e design. De acordo com os procedimentos metodológicos adotados para o trabalho, realizou-se um estudo de caso de dez escolas particulares da cidade de Bauru-sp, a fim de obter dados referentes a vivencia com crianças, sobre as preferências, atitudes e formas de raciocínio do mundo infantil.
Among the current trends for children1s clothing that may contribute to the development and children's learning through interaction with their clothes. For child interaction/clothes from occurring, this dress is appropriate the knowledge of design, which assist in its construction. Thus, this study seeks to investigate design principles that can be adopted for production of clothing thatcan assist in the develpment of children, showing how notions of education can be incoporated into costumes, studying the relationships and interactions between design, fashion and education. The study addresses this garment from the perspective of design, so as to provide insights that could contribute to the creation of the pieces. To that end, we developed a theoretical framework that sought to show the infant universe, communication, clothing and design. According to the methodological procedures for the work, there was a case study in ten private schools in Bauru-sp in order to obtain data on experiences with children about their preferences, attitudes and ways of reasoning child's world.

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Almeida, Mariana Dias de. "A moda contemporânea e a sustentabilidade no jeanswear : estudos de caso /". Bauru, 2013. http://hdl.handle.net/11449/89707.

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Orientador: Monica Moura
Banca: Marizilda dos Santos Menezes
Banca: Cyntia Santos Malaguti de Sousa
Resumo: A moda contemporânea no Brasil passou por grandes mudanças de paradigmas. Entre as questões principais que contribuiu para essa alteração é a sustentabilidade, que tem sido um dos desafios da moda, pois, ainda se encontra as entraves que já fazem parte do conceito de design de moda, o tema que tem sido discutido amplamente no campo do design e encontra fortes ecos na área de design de moda. Assim sendo, com foco no ponto de vista da estratégia da ferramenta do Life Cycle Design no projeto de um produto de moda, seguindo orientação do design sustentável, pretende-se abordar como procede a produção do jeanswear sustentável, ou seja, constatar a veracidade do conceito de design sustentável nas campanhas publicitárias veiculadas na mídia e o processo de desenvolvimento à produção
Abstract: The contemporary fashion in Brazil has undergone major paradigm shifts. Among the major issues that contributed to this change is sustainability, which has been one of the challenges of fashion, because it is still obstacles that are already part of the concept of fashion design, a topic that has been discussed widely in the field of design and finds strong echoes in the area of fashion design. Therefore, focusing on the point of view of strategy tool of Cycle Design in designing a fashion product, following the guidance of sustainable design aims to address how the production comes from sustainable jeanswear, verify the veracity of the concept of sustainable design in advertising campaigns disseminated in the media and process development to production
Mestre

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22

da, Motta Amadeu Flavia Regina. "Reflecting on capabilities and interactions between designers and local producers through the materiality of the rubber from the Amazon rainforest". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12018/.

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Designers have recently become increasingly involved with small-scale producer communities around the world, mostly in the southern hemisphere, and this increase has highlighted the significance of these encounters in the creation of economic and social opportunities for those peoples. This study identifies that, however, these encounters present challenges and imply ethical responsibilities that current design methodologies fail to embrace in their long-term goals. This research investigates the interaction between designers visiting local producers whose livelihood is deeply dependent not just on the natural environment and their local culture but also on the process of fabrication. This thesis proposes a new methodology to guide designers and producers through a reflective process of social change in producer communities. This methodology derives from a combination of activity theory and the capability approach to wellbeing applied within design and producer community practices. The aim is to support a dialogical and holistic design approach to this kind of cooperation, as well as to endorse research and professional practice in the field of design for social change. This research seeks to break new ground by generating perspectives that support both designers and local producers in tackling and resolving issues of individual and collective wellbeing. The research draws on interviews with designers working with local producers in different countries. In addition, the author presents her own experiences of researching and working with Amazon rainforest rubber-tapping communities which have adopted new production methods in order to acquire new capabilities and help conserve their environment. Two case studies illustrate the reflective methodology applied to the designer and producer interactions within social innovation and entrepreneurship. But it is fundamentally the materiality of the rubber, and the revelation of the interdependences within and without the locality, that form the framework of this thesis.

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23

Kässel, Emma y Sara Marklund. "The Fairytale about the Great Land called Creativity : A study about how to improve creativity in the fashion industry". Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-1774.

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The purpose of this thesis was to study how creativity can be improved within creative organizations, and the study was made both in Great Britain and in Sweden. We wanted to learn if creative employees have the possibility to use their creativity within their organization or if rules within the organization only hamper their creativity. We conducted interviews in both Sweden and in Great Britain and the focus on the study were on designers and product developers within the fashion industry. The research was a qualitative study consisting of a total of 7 semi-structured interviews. Designers and product developers feel that their creative ability sometimes gets hampered by their organization. We came to the conclusion that the manager need to be good at structure, trust, set up clear goals, conflict solving and communication and by that, let the organizations creative employees within it have the freedom to work at other places but at the office in order to get inspired by the environment.

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24

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

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

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Кокоріна, Галина. "Фешн графіка ХХ століття: український контекст". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10293.

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Робота спрямована на теоретичне осмислення фешн-графіки як виду образотворчого мистецтва, пов'язаного як з функціонування моди, так і з існуванням певних форм візуальної культури ХХ століття. Особливу увагу приділено мистецтвознавчому аналізу стану фешн-графіки в Україні, вперше систематизовано інформацію про конкретних вітчизняних майстрів.
The article is aimed at theoretical comprehension of fashion graphics as a certain type of fine art, connected both with the functioning of fashion and with the existence of certain forms of visual culture of the twentieth century. Special attention is paid to the art criticism of the state of fashion graphics in Ukraine, for the first time information on specific domestic masters has been systematized.

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

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

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Silva, Emanuelle Kelly Ribeiro da. "Novas faces do trabalho artesanal: as interseÃÃes de saberes entre designers de moda e artesÃos no interior do CearÃ". Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13923.

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nÃo hÃ
A pesquisa buscou compreender as novas formas de produÃÃo do artesanato a partir das intervenÃÃes de polÃticas pÃblicas voltadas para o desenvolvimento dessa atividade no CearÃ, tomando como parÃmetro as trocas de saberes e fazeres entre artesÃos e designers de moda no Ãmbito das aÃÃes da CEART, uma vez que estes sÃo enviados ao interior do estado a fim de ensinar uma nova metodologia de trabalho Ãqueles. O objetivo geral do estudo foi compreender as interfaces criadas entre o trabalho do designer de moda e do artesÃo, enfocando nas interferÃncias pedagÃgicas e metodologias adotadas no processo de criaÃÃo e produÃÃo do artesanato. Buscou-se erigir uma reflexÃo baseada na dialÃtica, uma vez que ela permite considerar a aÃÃo recÃproca entre os elementos observados e a constÃncia do movimento que os envolve. Com isso, a metodologia partiu de uma abordagem qualitativa e tambÃm da utilizaÃÃo de ferramentas etnogrÃficas para a coleta e anÃlise dos dados. O referencial teÃrico pautou-se nas teorias sobre o trabalho e o capitalismo na sociedade contemporÃnea; no estudo sobre as metodologias do design adotadas na atualidade a fim de compreender sua aplicabilidade na produÃÃo artesanal; nos Estudos Culturais, e; na discussÃo sobre a educaÃÃo emancipatÃria. A exposiÃÃo das ideias seguiu o encadeamento dos objetivos especÃficos e a apresentaÃÃo dos resultados encontrados a partir deles. Dessa forma, alguns resultados importantes destacaram-se, tais como: a contribuiÃÃo do artesanato para o mercado atual pela a agregaÃÃo de valor cultural aos bens industriais, fazendo com ele seja compreendido como bem simbÃlico/cultural e ao mesmo tempo econÃmico; a priorizaÃÃo do produto e nÃo as necessidades do artesÃo durante as intervenÃÃes, e; a incipiÃncia da formaÃÃo dos designers que atuam nessa Ãrea.
The research sought to understand the new forms of craft production from policy interventions aimed at the development of this activity in CearÃ, taking as parameter the exchange of knowledge and practices between artisans and fashion designers under the shares of CEART a as these are sent to the countryside to teach those new work methodology. The overall objective of the study was to understand the interfaces created between the work of fashion designer and craftsman, focusing on the pedagogical interference and methodologies used in the creation and production of the craft process. We tried to erect a reflection based on dialectic, since it allows us to consider the interplay between the observed elements and the constancy of the movement that surrounds them. Thus, the methodology started from a qualitative approach and also the use of ethnographic tools for collecting and analyzing data. The theoretical reference was based on the theories on labor and capitalism in contemporary society; in the study on the design methodologies used today in order to understand their applicability in craft production; Cultural Studies, and; in the discussion of emancipatory education. Exposure of ideas followed the thread of the specific objectives and the presentation of results from them. Thus, some important results were highlighted, such as the contribution of crafts to the current market for the aggregation of cultural value to industrial goods, causing it to be understood as well symbolic / cultural and economic at the same time; the prioritization of the product and not the craftsman needs during interventions, and; the incipient formation of designers working in this area.

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Pooe, Boitumelo. "Development of an effective and sustainable supply-chain-management model for South African fashion designers in the retail clothing industry". Thesis, Cape Peninsula University of Technology, 2020. http://hdl.handle.net/20.500.11838/3119.

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Thesis (Master of Retail Business Management)--Cape Peninsula University of Technology, 2020
Like many other suppliers, South African fashion-clothing designers have dealt with a very competitive environment within the retail industry. Thus, this research study explored the most suitable supply-chain-management model for South African fashion designers to achieve efficiency and economic sustainability within the retail environment. In today’s complex markets, the susceptibility of the supply chain is viewed as an ongoing issue for several industries and it is no different for fashion designers. As a result, in the past, the visibility of South African fashion designers in the retail environment appeared to be minimal. Matching the appropriate supplychain-management model with South African fashion designers in retail was the purpose and core focus of this research study, as the “one size fits all” approach appeared questionable and perhaps unrelatable to SMMEs. This research study explored the relationships between fashion designers and clothing retailers, together with supporting stakeholders such as government institutions, fashion councils, educational institutions, and the different consultants or agents. This was done to establish how the different parts could potentially function individually or collaboratively in order to develop an effective and sustainable supply-chain-management model for South African fashion designers in the retail environment. The primary focus and aim of the study was to assess the different functions within the supply-chain-management model and propose a more relevant model for South African fashion designers supplying the retail clothing environment. To reach the objectives of this research study, the empirical information was collected through the qualitative approach, by making use of in-depth semi-structured interviews, as that allowed the participants to answer the questions unreservedly based on their own personal and professional experience. The problem this research study identified was that a significant number of South African fashion-designer brands struggled to maintain longevity and success within the retail environment, due to the supply-chain changes South African fashion designers experienced when supplying retail. Through empirical research, it was identified that the supply-chain-management models available for retail clothing suppliers were designed for larger businesses and not specifically for fashiondesigner businesses which were classified as small, medium and micro-sized enterprises (SMMEs). The findings revealed that, for the fashion and retail clothing industry to realise an effective and sustainable supply-chain-management model for South African designers, the supply chain required good communication and support. The study recommended the establishment of close-proximity hubs, with fashion clothing supply chain functions, in major South African metropolitan cities, which could possibly be achieved through specialised and regulated education and the formation of a national fashion council.

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29

Jones, Michelle. "Less than art - greater than trade : English couture and the Incorporated Society of London Fashion Designers in the 1930s and 1940s". Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1676/.

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This study examines the creation and professionalisation of a recognisable English couture industry in the mid-twentieth century and in particular the role designer collaboration played within this process. The focal point is the Incorporated Society of London Fashion Designers, a design group established as a wartime measure in order to preserve and protect a number of London’s made-to-measure dress houses and to promote the creative aspirations of the wider British fashion industry. The focus on this specific design group and collaborative practice, rather than the individual couturiers, offers an exceptional case study of designers working in association and the impact this can have on design practice. A number of central themes emerge that focus on the networks and mediated representations that supported this field of design. In dealing with these themes this study recognises that the Incorporated Society’s formation and operation did not occur in a vacuum but within a specific industrial, political, economic and social infrastructure. It therefore explores the networks and narratives that were used to sustain its specific form of luxury fashion production throughout a particularly turbulent period. Today London is acknowledged, alongside Paris, New York and Milan, as one of the world’s major fashion cities and this thesis aims to achieve a better understanding of the role couturier-collaboration played in the early development of this recognition. Through the analysis of an extensive range of previously unconsidered primary material it questions whether and how, through the process of collaboration, the London couturiers established unprecedented and much needed cohesion for British design talent and the exact nature of their role within the construction and understanding of London as an internationally recognised fashion centre. The period under consideration allows not only an exploration of the creation of a London couture industry but also the cultural politics of design practice throughout a difficult period of economic depression, war and post-war reconstruction. In so doing, it explores the wider significance of the Incorporated Society’s elite made-to-measure dressmakers both for and beyond the discipline of Design History.

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Чупріна, Наталія, Ольга Терещенко, Фахіме Джаліліан y Катерина Волощук. "Традиційна вишивка як інноваційний засіб декорування костюма". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17948.

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Охарактеризовано критерії застосування етнічних традицій та народної творчості як творчого першоджерела в дизайні модного вбрання. Проаналізовано передумови, методи та засоби створення актуального одягу в етностилістиці. Обгрунтовано доцільність застосування вишивки як засобу декору в дизайні етнічно орієнтованих моделей костюма. Визначено засоби інтерпретації етнічних мотивів у розробці авторських зразків декору та створенні моделей костюма.
The criteria of application of ethnic traditions and folk art as a creative source in the design of fashion clothes are described. Prerequisites, methods and means of creating relevant clothing in ethnic style are analyzed. The expediency of using embroidery as a means of decoration in the design of ethnically oriented costume models is substantiated. Means of interpretation of ethnic motives in the development of author's samples of decor and creation of costume models are determined.

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Pereira, Livia Marsari. "Possibilidades de aprendizagem no vestuário infantil : um estudo exploratório /". Bauru : [s.n.], 2011. http://hdl.handle.net/11449/89732.

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Orientador: Marizilda dos Santos Menezes
Banca: Roberto Alcarria do Nascimento
Banca: Hans da Nobrega Waechter
Resumo: Dentre as tendências atuais para as roupas infantis encontra-se o vestuário que pode contribuir para o desenvolvimento e aprendizado das crianças por meio da interação com suas roupas. Para que a interação criança/roupa ocorra, esse vestuário deve se apropriar dos conhecimentos do design, que auxiliam na sua construção. Desta forma, esse estudo busca investigar os princípios do design que podem ser adotados para a produção de roupas que podem auxiliar no desenvolvimento das crianças, mostrando como noções de educação podem ser incorporadas ao trajes, estudando as relações e interações entre o design, moda e a educação. O estudo aborda este vestuário sob a perspectiva do design, para assim levantar informações que possam contribuir com a criação das peças. Para tanto, foi elaborado um referencial teórico que procurou mostrar o universo infantil, a comunicação, vestuáriom e design. De acordo com os procedimentos metodológicos adotados para o trabalho, realizou-se um estudo de caso de dez escolas particulares da cidade de Bauru-sp, a fim de obter dados referentes a vivencia com crianças, sobre as preferências, atitudes e formas de raciocínio do mundo infantil.
Abstract: Among the current trends for children1s clothing that may contribute to the development and children's learning through interaction with their clothes. For child interaction/clothes from occurring, this dress is appropriate the knowledge of design, which assist in its construction. Thus, this study seeks to investigate design principles that can be adopted for production of clothing thatcan assist in the develpment of children, showing how notions of education can be incoporated into costumes, studying the relationships and interactions between design, fashion and education. The study addresses this garment from the perspective of design, so as to provide insights that could contribute to the creation of the pieces. To that end, we developed a theoretical framework that sought to show the infant universe, communication, clothing and design. According to the methodological procedures for the work, there was a case study in ten private schools in Bauru-sp in order to obtain data on experiences with children about their preferences, attitudes and ways of reasoning child's world.
Mestre

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32

Christodoulou, Christina. "Walking Away from the Runway". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-367.

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How fashion is being presented today? A retrospective research into the history of the fashion shows in order to observe and examine the metamorphosis of the runway presentations of the present time. Fashion designers from the Swedish School of Textiles have participated in the thesis' interview as to express their point of view and elaborate on the issue.

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Pashkevich, Kalina, Jiangxin Liu, Karan Khurana, Bohdan Kass y Bohdan Protsyk. "Artistic means of decorative finishing of men`s clothing in the collections of designers of the 21st century". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18174.

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The varieties of decorative finishing of men`s suits used by the designers of the world Fashion Houses in their collections at the beginning of the 21st century have been studied. The main directions of development of decoration of men`s clothing and its main tendencies have been determined; the artistic means of decoration of men`s suits have been identified.
Досліджено різновиди декоративного оздоблення чоловічого костюма, які використовували дизайнери світових Будинків моди у своїх колекціях на початку ХХІ ст. Визначено основні напрями розвитку декорування чоловічого одягу, його основні тенденції; виявлено художні засоби оздоблення чоловічого костюма.

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Souza, Lúcia Kratz de. "As Vivências dos Designers de Moda em relação ao seu trabalho: uma abordagem psicodinâmica". Pontifícia Universidade Católica de Goiás, 2010. http://localhost:8080/tede/handle/tede/1776.

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The following study was developed with the purpose of analyzing the universe of the Fashion Designer professional that acts specifically on the clothing market, about his/her trajectory, identity, senses and experiences that concerns to his work. It s a case study of descriptive qualitative and exploratory character, developed with 11 Fashion Designers that act on the market of Goiânia, that tried to raise experiences of pleasure-pain, supported on the psychodynamic approach of work. It used individual interviews, which were interpreted through a graphic analysis of the speech. Its specific goals were: 1) to raise the identity and the trajectory of the Fashion Designer professional, the senses of his/her profession, the meanings of art and market, and the work as a creative process; 2) To raise the experiences of the Fashion Designers in relation to the process of work management, analyzing their organization and their work relationships, their conditions and work time; 3) To raise the subjective mobilization of the workers, analyzing the comprehension of their experiences of pleasure-pain and defensive strategies. In relation to the experiences related to their professional identity, their life trajectories, and the senses given by them at work on the art and market relationship, it can be said that Fashion Design is a field that works for money and that the art takes the domain of symbolic and communicative aspects more into consideration than the manufacture and hand abilities. It is also relevant that art and creation are intimately related, according to the view of the interviewed Designers, and that even though it is published art and not pure art , the identification between the art and the work of the designer is significant and positive, even with the conscience of its productive process. In relation to their work organization, it showed some elements that are common experiences of all the people interviewed that didn t pertain to their functional relation: division of work; division of tasks; division of men (leaderships, leaders, etc.); the existence of instruments of evaluation and of quality patterns; and the discrepancy between the prescribed and the real. On the other hand, it showed the lack of standards and patterns of formal procedures; the existence of a long and structured productive process; the high necessity of group/team work; and that they are submitted to an elevated degree of personal judgment, from the company s and from the client s point of view. Among the autonomous and the employed ones, we noticed experiences that are differentiated and not represented by the enterpriser or owners of their own business, as: to deal with the companies that focus on the result rather than on the technical process, and the difficulty to make the owner of the company aware of the real work developed by the Fashion Designer. Now, on what concerns the experiences of the workers subjective mobilization, they are used to minimize their pain, the defensive ideology through contradictory speech. About the pleasure experiences, it shows that the activity of creating fashion is the source of pleasure and the task itself provides balance over the psychological burden, because they are recognized in their own work. This activity, in its own experience is recognized as creative, not overly alienating, producing pleasure. The data showed that the sublimation process experienced by the interviewed participants, that through the freedom of creation, they can deal in a healthy way with the difficulties faced in this field of work. The psychodynamic and the theories related to work, to the creativity and to the Fashion Designer universe proved to be appropriate, relating the process of creation and art with the demands of the consumer market and with the professional practice. It is expected that the understanding and analysis of this study might help the fashion organizations to make strategic choices that allow better results for their teams of collaborators, especially for their Designers. It is also expected that this work might contribute to the humanistic field, on what concerns the psychodynamic work, specifically the psychology
O presente estudo foi desenvolvido com o objetivo de analisar os Designers de Moda, que atuam especificamente na moda vestuária, no que diz respeito à sua trajetória, identidade, sentidos atribuídos ao seu trabalho. Trata-se de um estudo de caso de caráter descritivo e exploratório, desenvolvido com 11 Designers de Moda que atuam no mercado goiano, sendo classificados em três categorias: os autônomos, os funcionários e os empreendedores. Buscouse levantar suas vivências relacionadas ao trabalho, apoiado na abordagem psicodinâmica do trabalho. Seus objetivos específicos foram: 1) Levantar a identidade e a trajetória profissional do Designer de Moda, os sentidos que atribuem à sua profissão, à arte e ao mercado, assim como, seu trabalho como processo criativo. 2) Levantar as vivências dos Designers de Moda em relação ao processo de gestão do trabalho, analisando sua organização, relações, condições de trabalho. 3) Levantar a mobilização subjetiva dos trabalhadores, analisando suas vivências de prazer, sofrimento e estratégias defensivas. Utilizou-se de entrevistas individuais, que foram analisados pela análise gráfica do discurso. No que diz respeito às vivências relacionadas à sua identidade profissional, sua trajetória de vida, e os sentidos atribuídos por eles ao trabalho e em relação à arte e ao mercado, evidenciou-se que a profissão de Designer de Moda serve ao capital e que a arte privilegia mais o domínio de aspectos simbólicos e comunicativos do que as habilidades manuais e artesanais. A arte e a criação estão intimamente relacionadas, na visão dos Designers entrevistados, e que embora seja arte publicada e não arte pura ocorreu a identificação entre a arte e o trabalho do designer. Em relação à organização do trabalho, evidenciaram-se alguns elementos comuns às vivências de todos os entrevistados independente da sua relação funcional: a divisão do trabalho; a divisão das tarefas; a divisão das pessoas (chefias, lideranças, etc); a existência de instrumentos avaliativos e de padrões de qualidade; e a defasagem entre o trabalho prescrito e o real. Por outro lado, evidenciou-se a ausência de normas e padrões de procedimentos formalizados; a existência de um processo produtivo longo e estruturado; a alta demanda por trabalho em grupo/equipe; e o fato de estarem submetidas a um julgamento pessoal, da empresa e do cliente. Em relação às categorias funcionais dos autônomos e empregados, existem vivências um pouco diferenciadas e não representadas pela categoria dos empreendedores ou donos dos seus próprios negócios, como: lidar com as empresas com foco mais no resultado do que no processo técnico, e a dificuldade de conscientização do proprietário da empresa sobre o real trabalho do Designer de Moda. Quanto às vivências de prazer, evidenciou-se que a atividade de criar moda é fonte de prazer e a tarefa em si proporciona equilíbrio sobre a carga psíquica, pois eles se reconhecem no próprio trabalho. Essa atividade é reconhecida como criativa, não excessivamente alienadora e produtora de prazer. Os dados evidenciaram o processo de sublimação vivenciado pelos entrevistados, que através da liberdade de criação, conseguem lidar de forma saudável com as dificuldades enfrentadas neste campo de trabalho. Já com relação à mobilização subjetiva dos trabalhadores, estes utilizam, para minimizar seu sofrimento, a ideologia defensiva através de discurso ideológico que camufla as contradições. A psicodinâmica e as teorias relacionadas ao trabalho, à criatividade e ao universo do Designer de Moda contribuíram para a análise das interfaces entre o processo de criação e arte com as demandas do mercado consumidor e com a prática profissional. A análise deste estudo pode auxiliar as organizações de moda na escolha de estratégias que possibilitem melhores resultados para suas equipes, em especial para os seus Designers.

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Kahnberg, Karin y Sofia Gustafsson. "Ourstyle". Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16856.

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Modemarknaden idag är både global och komplex med många uppfattningar om var värdet iprodukten ligger. Produkten och företagets image är kraftfulla medel för att differentiera sigpå marknaden. Då ett företag väljer att expandera till en ny marknad är det generellt ett sätt attskapa nya marknadsmöjligheter och för att öka sin försäljning. Innan etablering på nymarknad är det viktig att identifiera sin målgrupp. På den konkurrenskraftiga internationellamarknaden ligger makten inte längre hos leverantören, utan hos kunden.Distributionskanalvalet spelar en stor roll i avseende att nå företagets tänkta målgrupp. I denrådande konjunkturen besitter detaljister begränsade medel att spendera på oetableradevarumärken. Många detaljister behöver även begränsa antalet varumärken i sina butiker.I uppsatsen har vi valt att behandla den ungerska PR-byrån OurStyles designers och deraschans att ta sig in på Göteborgs modemarknad. Uppsatsen är skapad ur ett hermeneutisktförhållningssätt då det ger oss chansen att fritt tolka det studerade fenomenet. Vi har samlat inempiri genom vår fältstudie i Budapest, där vi gjort ett antal kvalitativa intervjuer medOurStyles designers, samt genom de detaljister vi varit i kontakt med i Göteborg. Iteorikapitlet beskriver vi den textila värdekedjan, globalisering, modebranschen, strategier föratt etablera sig på en ny marknad samt konsumentbeteende. Teorin och empirin är insamladför att kunna svara på problemformuleringen i uppsatsen.Genom att granska OurStyles designers och hur de arbetar har vi tagit fram tänkbaradetaljister på Göteborgs modescen. Uppsatsprocessen har gått ut på att se till vilka möjligheterde har att etablera sig på den göteborgska marknaden. Generellt är slutsatsen vi kommit framtill att det i dagsläget inte finns plats för OurStyles designers på Göteborgs modemarknad.Slutsatserna är grundade på den analys vi utfört genom att sammanställa teori med empiri.The fashion market of today is global and complex and there are many opinions about thevalue of the product and where it actually is to be found. The product itself and the image ofthe company are powerful tools to differentiate oneself on the market. When a companychooses to expand to a new market it is generally a way of creating new marketingopportunities and increasing its sale. Before establishing on a new market it is important toidentify your target group. In the competitive international market the power is no longer withthe supplier, but with the client. The choice of distribution channel is of big importance inrespect of reaching the company’s intended target group. In the current state of the market theretailers have limited means to spend on unestablished brands. Many suppliers also need tolimit the number of brands in their shops.In the essay we have chosen to focus on the Hungarian PR company OurStyle’s designers andtheir chance of getting into the fashion market of Gothenburg. The essay is written from ahermeneutical perspective since it gives us the opportunity to freely interpret the phenomenain question. We have collected empiric data through our field study in Budapest where we dida number of qualitative interviews with OurStyle’s designers, as well as qualitative interviewswith the suppliers that we have been in contact with in Gothenburg. In the theory chapter ofthe essay we describe the value chain of textile, globalisation, the fashion industry, strategiesto establish oneself on a new market and consumer behaviour. To be able to answer theproblem formulation we will use both theory and empiric data.By studying OurStyle’s designers and how they work we have compiled possible suppliers forthem on the fashion market of Gothenburg. The idea of the essay process has been to see whatopportunities OurStyle have to establish themselves on the market/scene of Gothenburg. Theconclusion in our essay is to a large extent that in the present situation there is no room forOurStyle’s designers on the fashion market of Gothenburg. The conclusion is based on theanalysis we have done, putting together theory and empiric data.
Program: Textilekonomutbildningen

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36

Salas, Pasuy Brenda. "Protection de la mode en droit colombien : le recours aux dessins et modèles". Thesis, Paris 2, 2017. http://www.theses.fr/2017PA020027.

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Le design et la production d’un article de mode impliquent le talent et le savoir-faire du styliste. La définition de la matière première, la finalité et le produit qui incorpore le dessin ou modèle de mode sont autant d’éléments que le styliste doit prendre en compte pour réaliser une création. C’est pourquoi le processus intellectuel engagé dans l’élaboration de leurs créations se doit d’être protégé par le système juridique. Au vu de la propriété intellectuelle, de nombreux droits permettent de la protéger, comme les marques, le droit d’auteur et les dessins ou modèles industriels. La législation colombienne a opté pour le régime des dessins ou modèles industriels. L’étude conjointe du secteur de la mode en tenant compte de la création est très importante car sa définition apportera au styliste une garantie juridique quant à l’objet de protection ainsi que la portée du droit. Le dynamisme de la mode montre néanmoins que la législation actuelle est inadaptée. La thèse présente ainsi les problèmes existants et les solutions offertes par d’autres régimes juridiques pour la protéger de manière adéquate
The design and production of a fashion item involves the talent and expertise of the designer. Along the design process, the designer has to make decisions on raw materials, end use,and the actual product to which design is to be applied. This multi-faceted intellectual process behind the fashion design must be protected by the legal system. It is important to conduct an overall study of the fashion sector taking into account the creative process in order to provide the designer with legal guarantee in regards to the object to be protected and the scope of rights. There are well known instruments that protect intellectual property such as trademarks, copyright, design patents and industrial design law. Colombia has chosen to follow the industrial design law which, given the dynamic nature of fashion, seems to be inadequate. This thesis presents the existing problems in the Colombian legal system and the solutions offered by other legal regimes to protect fashion more adequately

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NOVAES, Maristela Abadia Fernandes. "Caminho das pedras: Uma ressignificação do olhar e da experiência no processo de construção de roupas". Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2763.

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Made available in DSpace on 2014-07-29T16:27:47Z (GMT). No. of bitstreams: 1 Maristela Abadia Fernandes Novaes.pdf: 1239708 bytes, checksum: f5acc60fb2c956df61fdf777aa95ec56 (MD5) Previous issue date: 2011-03-28
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.

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38

Hoang, Vinh Hien. "Analysis of the Existing Fashion Retail Concepts and its Coming Trends". Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-114363.

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The increase of trading has created many environmental, ecological, social and ethical problems. The main concern across all industries is to create more sustainable, eco-friendly and ethical manufacturing processes. Only by influence consumer's purchasing behavior there might be the demand for eco-green products. The fashion and textile industry as one of the main contributor to the world's economy is one of the main environmental polluter (e.g.: soil, lakes, river and air). Recently, many young fashion designers started to offer eco-green fashion to the market. This new phenomenon might change the course of the world fashion industry. The goal of this research is to find out the real demand for eco-green products and its impacts on the traditional methods of fashion manufacturing. Three geographical areas where chosen to represent consumption side (US and EU (UK)) and manufacturing side (China). The specific fashion garment was chosen to demonstrate detailed analysis of the manufacturing processes and its new eco-green formula -- the denim jeans. The primary and secondary research approaches were chosen to cover the whole industrial view on this phenomenon. The outcome of the research showed that the major impact was on the general consumer's purchasing behavior and their life style. It is a new trend and concept that is reshaping the traditional fashion business models. Denim jeans industry leaders such as Levi's Strauss are in process of implementing eco-green, ethical and fair-trade factors into their long-term strategy.

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39

Arango, Calderón Bryan Coni. "Percepción de los diseñadores de moda millennials sobre el uso del pelaje canino como una fibra textil sostenible". PE, 2020. http://hdl.handle.net/10757/653333.

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El presente trabajo de investigación tiene como objetivo principal conocer la percepción de los diseñadores de moda millennials limeños sobre el uso del pelaje canino como una fibra textil sostenible en la ciudad de Lima. El diseño de la investigación tiene un enfoque cualitativo, fenomenológico. La información obtenida fue a base de investigaciones similares. Algunos de los conceptos ha trabajar serán moda sostenible, fibra textil sostenible, pelaje animal y los diseñadores millennials. Asimismo, se investigará sobre la historia y definición de cada una de las definiciones de manera general y aplicada en la moda para poder determinar la aceptación del pelaje canino como una fibra textil sostenible en la industria textil en la ciudad de Lima Metropolitana. Finalmente, se considera que la investigación tiene como finalidad motivar a otros estudiantes a trabajar con materiales sostenibles para reducir el consumo de materia prima animal de manera desmesurada.
The main objective of this research is to know the perception of millennials fashion designers from Lima about the use of dog fur as a sustainable textile fiber in the city of Lima. The research design has a qualitative, phenomenological approach. The information obtained was based on similar research and in-depth interviews. Some of the concepts to work on will be sustainable fashion, sustainable textile fiber, animal fur and millennial designers. Likewise, this research will have the history and definition of each of the concepts will be investigated in a general and applied way in fashion in order to determine the acceptance of canine fur as a sustainable textile fiber in the textile industry in the city of Metropolitan Lima. Finally, it is considered that the research aims to motivate other students to work with sustainable materials to reduce the consumption of animal fur material in an excessive way.

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40

Smolenska, Bogdana. "Fashion designer – Karl Lagerfeld". Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13165.

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Kiziltunali, Gizem. "New frameworks in deconstructivist fashion : its categorization in three waves, application of the notions of plasticity, de-design and the inclusion of Bora Aksu and Hussein Chalayan as the third wave Turkish deconstructivist designers". Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/620237/.

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This thesis analyses deconstructivist fashion in a wider framework: from the ways it is defined and its designers. Arguing against positions that classify both material and conceptual features within the single area of ‘‘deconstructivist’’ fashion, it proposes Malabou’s plasticity as an additional methodology to Derridean deconstruction. By utilizing Malabou’s plasticity and introducing the concept/process of de-design(ing), the project claims deconstruction to be a twofold process: 1.The technical de-designing of a garment 2.The conceptual deconstruction caused by the de-designed garment. In terms of its designers, the thesis applies these two processes to the unconventional garments of what it classifies as three different waves of deconstructivist fashion: Japanese, Belgian and Turkish. The thesis also proposes the emergence of a third wave deconstructivist fashion by focusing on the unconventional designs of Bora Aksu and Hussein Chalayan. To study these designs of the third wave and further examples of the previous two waves, the thesis utilizes designer and curator interviews, observation of Turkish local wears and motifs and garments displayed on exhibitions and fashion shows as primary research. The thesis focuses on the concepts of transformation/metamorphosis and culture to establish links between the third wave and the first and second wave designers as well as within the third wave itself. Further, it studies the garments of deconstructivist design from a wider framework, which positions the thesis closer to a cultural studies approach.

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42

Доброродня, А. О. "British fashion designer Stella Mccartney". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10659.

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43

Creigh-Tyte, Anne E. Davies. "British designer fashion in the late 1990s". Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/13277.

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At the end of the Second Millennium, the creative talent of British fashion designer 'stars' was considered so outstanding that they were frequently poached by leading European fashion houses; Dior, Givenchy, and Chloe, bastions of the French couture establishment were all headed by British designers. However, according to Kurt Salmon Associates (1991), there existed a paradox in that the British fashion designer sector was a 'cottage industry' characterised by poor commercial performance. Preliminary investigation revealed very little theory or scholarly research about the sector or its designer 'stars', and whilst there were some commercial consultancy reports, these appeared to be methodologically flawed. A need was therefore identified to explore contemporary practice in designer fashion houses, visit major promotional events such as fashion shows and exhibitions, and explore the designer's perspective. The methodological approach developed in this thesis has subsequently been endorsed by the Getty Conservation Institute of California (1999), which recommended the simultaneous analysis of 'creative' and cultural industries in terms of both their artistic and market dimensions, to explore positive associations between the two. This study applied a multi-stranded research strategy, which subscribed to phenomenological assumptions and adopted a range of research techniques from the traditions of anthropological fieldwork. These included an exploratory survey, participant observation, observation, in-depth elite interviews, and document analysis. It also draws upon developments in interpretative anthropology and includes experiments with the construction and presentation of text. These include the juxtaposition of commercial and art history discourses, numeric data with narrative, and popular with scholarly texts. This is sought to invite the reader to enter into a negotiation of new meaning, incorporating previously disparate discourses about designer fashion phenomena. The conclusions of this research were that the term 'cottage industry' was not an appropriate descriptor for the British fashion designer sector in the late 1990s .The industry had attained a positive international profile and London Fashion Week was a major international media event. However, the sector could be better supported as a national asset, in particular by establishing a permanent national exhibition in London to promote British fashion in a sustained and coherent manner.

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44

Palermo, Daina Erin. "Herman Patrick Tappe: American fashion designer and importer". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407485555.

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45

Casal-Valls, Laura. "La figura de la modista i els inicis de l’alta costura a Barcelona. Trajectòria professional i producció d’indumentària femenina (1880-1915)". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/129559.

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Aquesta recerca té per objectiu omplir un buit historiogràfic de la moda catalana, recuperant el nom d’alguns dels seus protagonistes i estudiant el que en definitiva fou un moment de transició entre un model de producció artesanal i l’Alta costura. L’objectiu principal de la recerca ha estat el de fer una panoràmica sobre la trajectòria laboral de les modistes durant la segona meitat del segle XIX fins a l’establiment d’una alta costura autòctona. Es tracta, doncs, d’un retrat col•lectiu, que no es centra en les individualitats sinó en la cadència d’un model de producció i la seva transició vers l’Alta costura. En aquest procés cal tenir en compte també el paper de la societat burgesa catalana, així com el dels avenços tècnics i industrials. Per tal d’estudiar aquest procés de transició, ha calgut analitzar la configuració de l’ofici de la modisteria i situar-lo en el seu context, emmarcat per les aspiracions creixents d’una societat burgesa i el desenvolupament d’una indústria incipient. En aquest procés de recerca, i després d’examinar les circumstancies, característiques i conseqüències del que en definitiva fou una transició històrica entre un model artesanal i un model industrial de producció, s’observa com l’aparició d’un nou mercat, d’una nova manera de consumir i d’unes noves lleis del gust van propiciar l’aparició de l’Alta costura catalana. Després d’una introducció extens,a on es fa un repàs exhaustiu de la historiografia i de l’estat de la qüestió del tema, així com una descripció acurada de la metodologia emprada, els continguts de la recerca es divideixen en tres parts. En la primera part es replantegen conceptes de base, partint de la historiografia existent i des d’una perspectiva crítica no només pel que fa a les respostes trobades, sinó incidint directament en la formulació de les preguntes que tradicionalment s’han plantejat els historiadors a l’hora de voler escriure sobre el fenomen del vestit i de l’Alta costura. La història del disseny, que ha tractat de prop el consum i que avui ja compta amb una historiografia important a l’estranger, ha considerat sempre que el consum és el darrer estadi del procés de disseny. En aquesta recerca, però, es considera que el consum, en el període estudiat, impulsat pel gust i efectuat per la societat, n’era el primer estadi. Cal recordar que en el cas de la moda al segle XIX, en no ser encara un procés de creació i de disseny administrat segons una dinàmica industrial, el primer estadi de la producció d’una peça era l’encàrrec: a partir d’un encàrrec, dictat per una idea de gust i generat per unes necessitats burgeses, es desplegava tot el procés de la producció. En la segona part l’objecte estudiat és el vestit femení entès com a producte. En aquesta part, es posa en relació el vestit local amb la moda internacional, es defineixen els dos usos històrics i s’analitzen els diversos vestits que conformen el treball de camp, a través d’una divisió temporal concreta. En la tercera part s’estudia la figura del productor –de la modista– i es posa en relació amb el context històric i social. Es defineixen els processos de treball, els mètodes, la projecció social de la figura de la modista i, finalment, com a tret essencial, la trajectòria professional d’aquesta figura. La raó per la qual es centra l’estudi en el treball de la modista és perquè, com es veurà, fou la principal creadora de moda femenina i caracteritzà molt bé el procés de la moda al segle XIX. Finalment, s’adjunta un annex amb el catàleg del treball de camp, que configura el primer catàleg d’aquestes característiques realitzat a Catalunya.
This research is aimed to fill a historiographical gap in the field of Catalan fashion, reinstating some of its main characters, and covering a transitional period that goes from fashion’s handcraft production to haute couture standards. This document offers a panoramic view of dressmakers professional career that goes from the second half of the XIX century up to the referred Catalan haute coutureestablishment at the beginning to the XX century. In order to understand this process it is necessary to take into account both the Catalan bourgeoisie society and the industrial advancements of the time. This paper investigates the gestation of haute couture in Catalonia and what were its causes and consequences. To do so, the way history has been usually studied has been turned upside down. If fashion had hitherto been studied from the perspective of the consumer, overhauling various forms of dress styles, this investigation proposes to start by exploring a particular character that has been virtually invisible until today: the dressmaker and its career development. To study this process of transition, it has been necessary to analyse how dressmakers' labor was structured within its context, along with the growing aspirations of Catalan’s bourgeois society and the development of a nascent industry. In this research process, and after considering the circumstances, characteristics, and consequences of what ultimately became a historical transition from a handcraft environment to an industrial model of production, the emergence of a new market and ways of understanding taste can be observed. It was this new market and taste what led to the apparition of Catalan haute couture. In this document lie the embryonic beginnings of Catalan haute couture in a historical, social and artistic context.

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Ranathunga, Arachchilage Sumith Chandra Gopura. "Fashion education ecosystem: Bridging the fashion knowledge gap in the Sri Lankan apparel industry". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123905/1/Sumith%20Chandra%20Gopura_Ranathunga%20Arachchilage_Thesis.pdf.

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The export apparel industry in Sri Lanka is seeking to develop higher value fashion products and services for overseas consumers with the support of locally trained fashion designers. This thesis investigates how Sri Lankan designers are prepared by higher education and the apparel industry to acquire the necessary knowledge and skills that can contribute to the industry's development. The thesis identifies the collaborative approach of developing Sri Lankan fashion designers through higher education and apparel industry forming a "Fashion Education Eco-system".

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47

Nip, Kam-cheong y 聶錦昌. "Fashion Design Centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983625.

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Bland, Kasey Dawn. "The Life and Career of Fashion Designer, George Stavropoulos". University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1217262462.

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陳嘉敏 y Ka-man Carmen Chan. "Museum of fashion in a district of fashion". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986286.

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Juggessur, Joshie. "Luxury designer handbag or counterfeit? An investigation into the antecedents influencing women’s purchasing behaviour of luxury designer and counterfeit brands". Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/5453.

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The drive and appeal of luxury designer products has fuelled consumer desire for luxury designer brands and their counterfeit versions. Some women value luxury designer handbags just the way men value their cars. The luxury designer handbag market has witnessed a surge of counterfeit handbag versions. The study focused on women in London, which has been ranked at number one in relation to demand levels of fashion handbags. Several antecedents were investigated for the purpose of this research, which are as follows: •Social consumption factors which incorporates an investigation into brand meaning and social meaning; •Attitudinal factors; •Individual factors which looks at the BLI (brand luxury index) and materialism; and •Post consumption emotions; Several research gaps were identified: firstly, there are no studies available on investigating identical antecedents in both luxury designer and counterfeit commodities, or even to a specific product category. Secondly, a number of researchers have examined consumers’ evaluative criteria in clothing, yet few have focused on the mentioned antecedents as part of the evaluative criteria of luxury designer handbags and counterfeit handbag versions. The investigation was carried out via quantitative data collection and was cross-analysed. The highlighted antecedents are important domains in the discipline of consumer choice behaviour. The research included two phases; a pilot survey study which pre-tested the acknowledged scales and a main survey incorporating the most important adapted constructs influencing consumer choice behaviours. The main analysis was based on data collected from a sample of 353 respondents in London. The conceptual model is unique in its specifications presenting a new behaviour orientated model which highlights integral factors in consumer behaviour. The research identified contemporary associations and discrepancies among women in London. The result of this research provides general support in understanding consumer decision-making and offers a comprehensive understanding of the effect of consumer evaluation and attitudes towards luxury designer handbags and counterfeit handbag versions. The differences and similarities across the antecedents are used to propose strategies to luxury designer companies thereby improving their marketing activities and achieving a competitive edge.

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Tesis sobre el tema "Fashion Designers"

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