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Tesi sul tema "Fashion and art"
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1
Mosina, E. O. "Abstract vision in fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11355.
Testo completo
2
Dorosh, Daria. "Patterning : the informatics of art and fashion." Thesis, University of East London, 2007. http://roar.uel.ac.uk/1236/.
Testo completoAbstract (sommario):
The latter half of the 20th century saw a massive transition from the analogue way of life to the digital. This thesis compares and contrasts two sets of binary patterns in this transition: the 'grid' and the 'loop', and 'representation' and 'abstraction'. My field of knowledge is Contemporary Conceptual Art practice, and the overlapping areas between three major disciplines: post-1970s visual art, fashion design and production, and digital media tools. The method is process-art analysis, in practice and theory. The thesis looks at several art and fashion case studies engaged with new media and shows that 'Informatics' also shares patterns with these emerging trends. The thesis argues that an important shift in the surface and structure of art and fashion and dynamic patterns in these fields can be relevant to others working in cognate disciplines concerned with patterns of thinking, imaging and coding: i. e., Philosophy, Media Theory, and Computer Science. New insights can be gained from a cross-disciplinary field of vision in this regard. The broad questions addressed in the research are: " Is there a vocabulary of pattern emerging between disciplines? " Why do 'grid, 'loop', 'representation' and 'abstraction' emerge repeatedly as patterns across such a wide set of disciplines: from fashion and art to brain science and pattern mapping in computer science? What can we learn from documenting the apparent shift between product and process in these distinct fields? The research concludes that the patterns in art, fashion, science, and technology all show that we are in a transition from a product-based culture to a process-oriented one. In that spirit, the conclusion projects a collaborative future for fashioning culture.
3
Björling, Sofia. "Ethnic fashion : begrepp i förändring." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-748.
Testo completoAbstract (sommario):
Syftet med denna studie är att se på hur begreppet etniskt mode används i praktiken inom dagens modejournalistik och inom den mode- och dräkthistoriska litteraturen, med utgångspunkt i hur etniskt mode och dräkt presenteras i forskningen. Etniskt mode som idag är ett väl använt begrepp som visar sig ha många olika innebörder. För det har visat sig att man med begreppet etniskt mode menar olika saker inom forskningen respektive inom mode- och dräkthistoriska översiktsverk samt inom modejournalistiken.
4
LIU, MINGYUAN. "Disabled: Media, Fashion and Identity." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20106.
Testo completo
5
Edwards, Jennifer Somerville 1967. "Louise Dahl-Wolfe: A fashion photographer redefined." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291450.
Testo completoAbstract (sommario):
Dahl-Wolfe (1895-1989) is best-known as a fashion photographer, her photographic life encompassed a pattern of art and documentary ideas interwoven over a forty-year period. This thesis describes her early art influences and explores her photography career in regards to the historical and cultural developments from World War I through the 1950s. Dahl-Wolfe is compared with her contemporaries such as Consuelo Kanaga, Dorothea Lange, Edward Weston, Richard Avedon, and Henri Cartier-Bresson. The study reveals how Dahl-Wolfe's work reflects photography's evolution over a specific period and how traditional constructions affect the reception of commercial photographers. Conclusively, Dahl-Wolfe's oeuvre straddles such an array of constructed arenas that she virtually fell through the cracks and has been narrowly defined as a result of art historical definitions.
6
Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.
Testo completo
7
Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.
Testo completo
8
Lava, Valentina <1996>. "Between Art and Fashion. The World of Roberto Capucci." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21226.
Testo completoAbstract (sommario):
Prima del prêt-à-porter e della produzione di massa di prodotti d’abbigliamento, il sistema moda era caratterizzato dalla figura artigianale del sarto.
Roberto Capucci è il simbolo di quel periodo storico. Da sempre, ha rappresentato l’esempio di uno stilista che ha dedicato gran parte della sua carriera non ai dettami del branding o dell’imprenditorialità, bensì ad una libera espressione della sua creatività creando modelli iconici capaci di rappresentare la sua educazione artistica, ispirandosi o seguendo alcuni movimenti artistici. Il suo percorso creativo lo portò alla reazione delle sue sculture in tessuto, rendendolo il trait d’union tra l’arte e la moda.
L’intendo della presente tesi è condurre uno studio sulla carriera del Maestro Capucci, analizzando le diverse fasi della sua produzione artistica. Dopo un’introduzione della storia della moda italiana degli anni del 1940 e 1950, verrà introdotta la figura di Roberto Capucci. L’analisi seguirà uno schema sia cronologico che tematico, dove verranno analizzati gli anni più importanti per la sua produzione artistica, insieme a due elementi chiave dei suoi abiti: la forma e il colore. Un’attenzione particolare verrà posta anche alla sua entrata nel mondo dell’arte, quando, invitato dai più prestigiosi musei, iniziò ad esporre le sue creazioni. Lo studio è arricchito dai ricordi del Maestro, raccolti in un’intervista rilasciata per questa ricerca e da materiali storici, alcuni inediti, custoditi dalla Fondazione Roberto Capucci.
9
Tolley, Rebecca. "Review of Fashion's Front Line: Fashion Show Photography from the Runway to Backstage." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5622.
Testo completo
10
Kay, Lacey. "Fashionable Art." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3337.
Testo completoAbstract (sommario):
My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.
11
Smith, Natalie D., and n/a. "Fashion and the artworld : intersection, interplay and collusion since 1982." University of Otago. Department of History, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070417.122533.
Testo completoAbstract (sommario):
Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice.
The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface.
This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.
12
Butler-Roberts, Jessica. "Fashioning distinction| construction of identity through dress and photography in nineteenth-century Paris." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252491.
Testo completoAbstract (sommario):
<p> In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one’s likeness. This thesis will trace the utilization of these concepts by examining Nadar’s portraits of Charles Baudelaire, Théophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione’s collaborative portrait work with the photographer Pierre-Louise Pierson. </p><p> Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.</p>
13
Huang, Li Ti. "Fashion and a critique of cultural identity: the implication for art education." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407141397.
Testo completo
14
Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.
Testo completoAbstract (sommario):
Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
15
Roe, Rebecca Suzanne. "Fashioning a utopian ideal : dress and undress in the work of Pierre-Auguste Renoir /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426100.
Testo completo
16
Zanardo, Veronica <1987>. "Fashion Documentary: l’evoluzione comunicativa della moda attraverso il cinema." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10376.
Testo completoAbstract (sommario):
La moda è uno dei fenomeni culturali più rilevanti e influenti della società e della cultura occidentale contemporanea. Nonostante sia stata spesso considerata un argomento frivolo e privo di valore culturale, la moda è oggi divenuta un argomento centrale di studio e trattazione di molteplici discipline. Tali discipline, tra cui la sociologia, la filosofia e la semiologia, hanno apportato, nel corso degli anni, il loro contributo affinché a tale fenomeno venisse riconosciuto il fatto di essere un sistema altamente complesso entro cui intervengono numerosi e rilevanti elementi che influenzano e che caratterizzano la nostra cultura e la nostra società.
In questa ricerca si pone l’attenzione sul percorso evolutivo del sistema comunicativo della moda, ovvero sullo sviluppo e l’affermazione di differenti tipi di linguaggio attraverso cui, nel corso degli anni, questo settore ha espresso la sua essenza e il suo potere di influenza culturale.
Dai primi rudimenti comunicativi espressi mediante degli annunci pubblicitari nelle riviste del settore aventi come unico scopo quello di influenzare l’acquisto da parte dei potenziali consumatori, si è arrivati oggi ad un nuovo tipo di rapporto tra il brand operante nella moda e l’utente finale.
Lo scopo principale delle attuali aziende di moda è quello di riuscire a creare con il consumatore una relazione che sia quanto più empatica ed emozionale possibile. Per assolvere alla necessità di creare un linguaggio comunicativo che permetta al brand di esprimere in maniera profonda i propri ideali nonchè tutto ciò che appartiene all’universo di marca la moda ha stretto una relazione con il mondo delle new technologies e del cinema.
Il bisogno della moda di raccontarsi e di narrare storie, ha portato alla creazione di un nuovo genere cinematografico, quello dei fashion film. Sviluppatisi nel web nel corso dell’ultimo decennio, il fenomeno dei fashion film ha permesso al settore della moda il raggiungimento di un numero di utenti molto più vasto rispetto ai convenzionali mezzi comunicativi. Questo ha fatto sì che da una parte aumentasse l’interesse nei confronti della moda anche da parte di coloro che non appartengono a tale settore mentre dall’altra ha permesso lo sviluppo di elementi fondamentali per la costruzione della brand reputation e della brand awarness.
Alla presenza di queste necessità da parte dei brand e dall’aumento dell’interesse da parte degli utenti è sorto il bisogno di conoscenza degli aspetti caratterizzanti questo mondo.
I fashion documentary si inseriscono in questo tipo di contesto non solo per soddisfare la necessità delle maggiori aziende del settore di mitizzare la propria storia e i volti che l’hanno resa possibile ma anche per coinvolgere e informare il pubblico su un mondo che è sempre stato considerato blindato e alla portata di pochi eletti. Attraverso l’unione tra il genere documentaristico e il potere evocativo del mezzo cinematografico la moda riesce a raccontarsi innescando negli spettatori dei processi empatici.
Questa ricerca si propone di analizzare i documentari di moda attraverso due paralleli punti di vista, da una parte quello più strettamente relativo al linguaggio cinematografico e alle tecniche tipiche del genere documentaristico, dall’altra attraverso i meccanismi e gli elementi caratterizzanti il settore del fashion con lo scopo di evidenziare come il rapporto tra moda e cinema abbia portato all’evoluzione di entrambi i linguaggi e come questa relazione abbia permesso al settore moda di soddisfare le proprie necessità comunicative dettate dalle esigenze imposte dall’attuale mercato.
17
Blair, Sean. "Permanent novelty." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5125.
Testo completoAbstract (sommario):
Thesis (M.F.A.)--West Virginia University, 2007.<br>Title from document title page. Document formatted into pages; contains vi, 38 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 36-38).
18
McLoughlin, Marie. "Fashion, the Art School and the role of Muriel Pemberton in the development of degree level fashion education in the UK." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/dcb4f707-0a35-427e-9bf1-2780249190cb.
Testo completo
19
Gramotnev, Helen. "Femme au chapeau: Art, Fashion and the Woman's Hat in Belle Epoque Paris." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/22417.
Testo completoAbstract (sommario):
This thesis examines the images of hatted women in the early 1900s among Paris-based artists, when the fast pace of the fashion industry and changing media revolutionised the image of a fashionable woman. The first chapter examines the hat in portraiture of the early twentieth century, in both academic and avant-garde art, with emphasis on the depiction of glamour, and how a woman’s identity might be altered by a hat. It draws a comparison between commercial portraiture, and portraits of women by avant-garde artists. The second chapter addresses the images of the popular Montmartre dance hall, the Moulin de la Galette, both in paintings and in print media. The focus is on the “fantasy,” whereby a temporary and alternative identity is created for a woman through her headgear. The final chapter examines the evolution of the hat to its largest and most elaborate state at Parisian horse-racing events, addressing the obsession with size, and the environmental impact of the millinery trade in its pursuit of ever-increasing grandeur.
20
Bush, Jessica. "The strategic use of art, architecture and design in high-end fashion retail." Thesis, Bucks New University, 2008. http://bucks.collections.crest.ac.uk/9828/.
Testo completoAbstract (sommario):
The aim of this thesis is to investigate the role of art, architecture and design in the luxury sector of fashion retail, taking leading high-end fashion brands as case studies. This study addresses how art, architecture and design can be shaped for commercial purposes, to make brands appear exclusive and distinctive. In the first section, a review of existing literature on art, design, fashion and consumption establishes how this research subject fits within broader debates that centre in these different creative practices. This research investigates the purpose of displaying works of art in high-end fashion stores and shows how - together with architecture and design - it has transformed retail environments. This study sets out to demonstrate that the introduction of art, architecture and design has been a pretext for fashion retailers to ‘conceptualise’ their outlets, designing them as sites of experimentation to stimulate and rejuvenate the shopping experience. This study argues that these creative practices have been presented as symbols of a utopian luxury lifestyle, and have been employed as languages to communicate with brands’ target markets. Case studies trace instances of this in the context of globalisation; examples include the representation of French brands in Japan. This study also contends that through their involvement with art, architecture and design, retailers have been enabled to present, with credibility, their commodities as works of art, elevating the status of their brands and maintain the exclusive character of high-end fashion. This was part of a bigger cultural shift in the capitalist first world, which involved a commodification of culture. Finally, this thesis speculates on the place of art, architecture and design within the future of high-end fashion retail and concludes that, despite the fact that this phenomenon has escaped critical attention, their presence in retail environments plays a key role in shaping the image of contemporary commercial spaces and is characteristic of the growing significance of creativity in late capitalist societies.
21
Tonucci, Giulia <1984>. "Body, Technology and Fashion. Nuovi modelli creativi per la scena contemporanea." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7395/1/TONUCCI_GIULIA_TESI.pdf.
Testo completoAbstract (sommario):
La tesi si pone l'obiettivo di investigare la scena performativa contemporanea concentrandosi sull’evoluzione, durante il Novecento, di due aspetti principali, o forme: il corpo e l’abito. In primo luogo, si tratta di porre la lente d'ingrandimento su ciò che ha comportato la modificazione del concetto di presenza del corpo sulla scena, attraverso il triplice filtro della tecnologia, della moda e del movimento. Diviene utile indagare, quindi, come il modo di pensare e agire sul corpo si sia modificato negli anni attraverso la realizzazione di costumi e di strumenti scenici in cui la componente tecnologica e multimediale ha acquisito sempre maggior importanza. Declinato dal campo della moda a quello delle arti sceniche, il design, infatti, si trova oggi a essere espressione di una ricerca che esplora le possibilità nascoste dell'interazione tra sistemi tecnologici multimediali e l'ambito artistico. Diviene importante, quindi, non sottovalutare la questione del costume nella composizione complessiva dell'opera ma sfruttare, invece, le infinite risorse che la moda può apportare all'estetica e alla percezione finale dello spettacolo stesso. Rispetto alla forma abito, si prenderà, quindi, in considerazione proprio la sua evoluzione attraverso il lavoro compiuto da stilisti all'avanguardia che collaborano, in maniera diretta o indiretta, con il mondo della live art. Un rapporto che è interessante esplorare nelle reciproche influenze tecniche ed estetiche. Basti pensare alle collaborazioni tra William Forsythe e Issey Miyake; o ancora al lavoro del designer inglese Garreth Pugh, i cui abiti sono il prodotto di ispirazioni molteplici, dalle esibizioni serpentine di Loïe Fuller, così come dai costumi geometrici schlemmeriani. Procedendo attraverso un lavoro di sovrapposizioni in trasparenza rispetto ai tre domini di teatro, moda e tecnologia, l'obiettivo sarà allora quello di verificare l'apporto, in termini di sviluppo estetico e compositivo, che le loro reciproche ibridazioni possono apportare alla scena performativa contemporanea.<br>The dissertation investigates the evolution and the relation, along the last century, of two main aspects of the contemporary performing arts, indicated here as forms, such the body and the garment, through the implication of the new technologies. First of all, pointing out how the modification of the concept of presence worked for a re-consideration of both the two forms, through the triple filter of technology, fashion and movement. Then, analysing how the development of technological and multimedia garments and stage devices change the way of thinking and acting to the body on stage itself. As well as in the field of fashion and in the context of the performing live arts, design is today the expression of a research that explores the possible interactions and contaminations between technology and arts. The garment issue, then, becomes relevant in the whole composition of the performing artwork, and as well to consider how fashion can be a rich and important source in terms of aesthetic and perception for the theatre world. About the analysis of the form – garment, as the second main object after the form-body in the structure of this thesis, is important considering how the dress item is evolving by means of the work of avant-garde fashion designers who collaborate, directly or not, with the live art domain. Therefore, the relation between fashion and performing arts will be explored through their mutual influences, in a technical and aesthetic point of view. Along the dissertation, there will be also presented several examples of the collaborations between designers and theatre directors/choreographers. Leading the research by overlapping the three domains of theatre, fashion and technology, finally the main object will be to verify the aesthetic and the structural contribution that their interaction have on the contemporary performing arts.
22
Tonucci, Giulia <1984>. "Body, Technology and Fashion. Nuovi modelli creativi per la scena contemporanea." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7395/.
Testo completoAbstract (sommario):
La tesi si pone l'obiettivo di investigare la scena performativa contemporanea concentrandosi sull’evoluzione, durante il Novecento, di due aspetti principali, o forme: il corpo e l’abito. In primo luogo, si tratta di porre la lente d'ingrandimento su ciò che ha comportato la modificazione del concetto di presenza del corpo sulla scena, attraverso il triplice filtro della tecnologia, della moda e del movimento. Diviene utile indagare, quindi, come il modo di pensare e agire sul corpo si sia modificato negli anni attraverso la realizzazione di costumi e di strumenti scenici in cui la componente tecnologica e multimediale ha acquisito sempre maggior importanza. Declinato dal campo della moda a quello delle arti sceniche, il design, infatti, si trova oggi a essere espressione di una ricerca che esplora le possibilità nascoste dell'interazione tra sistemi tecnologici multimediali e l'ambito artistico. Diviene importante, quindi, non sottovalutare la questione del costume nella composizione complessiva dell'opera ma sfruttare, invece, le infinite risorse che la moda può apportare all'estetica e alla percezione finale dello spettacolo stesso. Rispetto alla forma abito, si prenderà, quindi, in considerazione proprio la sua evoluzione attraverso il lavoro compiuto da stilisti all'avanguardia che collaborano, in maniera diretta o indiretta, con il mondo della live art. Un rapporto che è interessante esplorare nelle reciproche influenze tecniche ed estetiche. Basti pensare alle collaborazioni tra William Forsythe e Issey Miyake; o ancora al lavoro del designer inglese Garreth Pugh, i cui abiti sono il prodotto di ispirazioni molteplici, dalle esibizioni serpentine di Loïe Fuller, così come dai costumi geometrici schlemmeriani. Procedendo attraverso un lavoro di sovrapposizioni in trasparenza rispetto ai tre domini di teatro, moda e tecnologia, l'obiettivo sarà allora quello di verificare l'apporto, in termini di sviluppo estetico e compositivo, che le loro reciproche ibridazioni possono apportare alla scena performativa contemporanea.<br>The dissertation investigates the evolution and the relation, along the last century, of two main aspects of the contemporary performing arts, indicated here as forms, such the body and the garment, through the implication of the new technologies. First of all, pointing out how the modification of the concept of presence worked for a re-consideration of both the two forms, through the triple filter of technology, fashion and movement. Then, analysing how the development of technological and multimedia garments and stage devices change the way of thinking and acting to the body on stage itself. As well as in the field of fashion and in the context of the performing live arts, design is today the expression of a research that explores the possible interactions and contaminations between technology and arts. The garment issue, then, becomes relevant in the whole composition of the performing artwork, and as well to consider how fashion can be a rich and important source in terms of aesthetic and perception for the theatre world. About the analysis of the form – garment, as the second main object after the form-body in the structure of this thesis, is important considering how the dress item is evolving by means of the work of avant-garde fashion designers who collaborate, directly or not, with the live art domain. Therefore, the relation between fashion and performing arts will be explored through their mutual influences, in a technical and aesthetic point of view. Along the dissertation, there will be also presented several examples of the collaborations between designers and theatre directors/choreographers. Leading the research by overlapping the three domains of theatre, fashion and technology, finally the main object will be to verify the aesthetic and the structural contribution that their interaction have on the contemporary performing arts.
23
Fowler, Michael Anthony. "Rosa Bonheur the Amazon? Victorian-era Fashion, Female Masculinity, and the Horse Fair (1855)." Digital Commons @ East Tennessee State University, 2022. https://dc.etsu.edu/etsu-works/8903.
Testo completo
24
Finn, Angela. "Fashion manufacturing in New Zealand can design contribute to a sustainable fashion industry? : this exegesis is submitted to Auckland University of Technology for the Honours degree of Bachelor of Art and Design, October 2008 /." Full exegesis, 2008.
Cerca il testo completoAbstract (sommario):
Exegesis (BA--Art and Design) -- AUT University, 2008.<br>Includes bibliographical references. Also held in print (xix, 101 leaves : ill. ; 30 cm.) in City Campus Theses Collection (T 338.47746920993 FIN)
25
Walsh, Kyley. "Fashion and Art Collaborations| The Benefits for Both Brands in a Designer x Artist Brand Alliance." Thesis, Sotheby's Institute of Art - New York, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10187679.
Testo completoAbstract (sommario):
<p>This research project analyzes the history between fashion and art and investigates several recent collaborations between designers and artists, with the intention to distinguish the benefits each brand receives through the affiliation with one another. In today?s cultural and commercial market, there are an abundance of new collaborations between designer brands and artists continuously developing. Artists are recognized through gallery and museum exhibitions, as well as through auctions, but what many fail to observe is that artists are being acknowledged through the fashion industry as well. Although there are several collaborations that have already been extensively researched and analyzed, there are countless others that need the same scholarly attention. Through the process of research and interviews, both artists and designers are studied and questioned in regards to their participation within the collaboration. The case studies included analyze the benefits and outcomes of the brand alliance between designers and artists.
26
Souza, Nívea Faria de. "Entremeios da arte: moda e arte." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4820.
Testo completoAbstract (sommario):
Este trabalho versa sobre o universo da arte tangenciado pela moda, sua efemeridade, pertencimentos e seus agenciamentos. Nesse contexto, busca-se exemplificar o quanto a moda e a arte estão intrinsecamente ligadas. O ponto de partida é a moda como experiência e expressão coletiva e/ou individual, principalmente em trajes e formas vestimentares, pois são esses que mais forte influência exercem sobre o homem, seu corpo, seu espaço e memória. Localiza-se esse processo de aproximação entre arte e moda no século XX, quando vanguardas romperam com o academicismo clássico, agregando à arte sinestesias de sistemas relacionais. Rejeitam-se intermitências escultóricas e pictóricas para dar lugar a linguagens que interagem com o espectador. Os dados do presente trabalho traçam o panorama da aproximação entre arte e moda, a partir de duas vertentes: a primeira demonstra como a arte busca, no traje, suas sinergias, influenciando-se e apropriando-se da sinestesia proporcionada pela roupa; a segunda, como a moda apropriou-se de elementos da arte, em busca de um reposicionamento como expressão e não somente consumo<br>This work discusses the art universe touched by fashion, its ephemerality, belongings and its relations. In this context, the purpose is to exemplify how fashion and art are inextricably linked. The starting point is fashion as an experience and as an expression, which can be collective and/or individual. Fashion is mainly comprised by clothes and raiment, because these are the forms that have more influence on the human, his body, his space and his memory, on this way the process of art and fashion approximation occurred in the Twentieth Century, when the vanguards broke down to the classic academicism bringing to art a intersection of feelings and relational systems. The sculptural and pictorial intermittent manifestations gave place to languages that interactes with the spectator. The data presented in this work show how art and fashion approached themselves, focusing on two slopes: the first one is how art seek on clothes its synergies, influencing itself and assuming the effects of the intersection of feelings created by clothes, and the second one is how fashion arrogated arts elements in order to be viewed as a way of expression and not only as an ordinary expenditure
27
McRobbie, Angela. "Art world, rag trade or image industry? : a cultural sociology of British fashion design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/7359.
Testo completoAbstract (sommario):
This thesis argues that the distinctiveness of contemporary British fashion design can be attributed to the history of education in fashion design in the art schools, while the recent prominence and visibility is the result of the expansion of the fashion media. Fashion design had to struggle to achieve disciplinary status in the art schools. Tarnished by its associations with the gendered and low status practice of the dressmaking tradition, and then in the post war years, with the growth of mass culture and popular culture, fashion educators have emphasised the conceptual basis of fashion design. Young fashion designers graduating from art school and entering the world of work develop an occupational identity closer to that of fine artists. This is a not unrealistic strategy given the limited nature of employment opportunities in the commercial fashion sector. But as small scale cultural entrepreneurs relying on a selfemployed and freelance existence, the designers are thwarted in their ability to maintain a steady income by their lack of knowledge of production, sewing and the dressmaking tradition. The current network of urban `micro-economies' of fashion design are also the outcome of the enterprise culture of the 1980s. Trained to think of themselves primarily as creative individuals the designers are ill-equipped to develop a strategy of collaboration and association through which their activities might become more sustainable. While the fashion media has also played a key role in promoting fashion design since the early 1980s, they are overwhelmingly concerned with circulation figures. They produce fashion images which act as luxurious environments for attracting advertising revenue. Consequently they carry little or no coverage on issues relating to employment or livelihoods in fashion. But their workforce is also creative, casualised and freelance. In each case, these young workers are the product of the shift in the UK to an emergent form of cultural capitalism comprising of low pay and the intensification of labour in exchange for the reward of personal creativity. This current sociological investigation aims to open the debate on the potential for the future socialisation of creative labour.
28
Cone, Schuyler Eaton. "Investigation of fashion characteristics 1937-1943 incorporated in a specific type of female Marine Corps uniform, 1943 /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665556776.
Testo completo
29
Willumsen, Kajsa. "Dressing[room]." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14910.
Testo completoAbstract (sommario):
This project is an investigation of the relationship between spatial dressing and body dressing. It aims to find a new way of dressing the body by looking at how a room is dressed. It is explored by using the mindset of when dressing and furnish a room, looking at elements such as materials, details and fixtures of what defines the different rooms. To gain knowledge and understanding of the chosen elements they have been decontextualized and experimented with on a body, using the body as a spatial canvas. It has been explored through placement in order to challenging the limitations of starting points when dressing as well as other aspects such as the spatial aesthetic as dress, new expressions, function and shape. It suggests a playful- and different interpretation of how to dress the body. The importance of this investigation has been to keep the objects as they are, to mix the things we know and can refer to, in its original form and function, with an unexpected context in order to maximize its potential use and to question how we categorize things.
30
Castiglioni, Elena <1994>. "FASHION CURATING: pratiche curatoriali per i musei della MODA. Il caso del GUCCI GARDEN." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17329.
Testo completoAbstract (sommario):
Questa tesi si propone di trattare le pratiche curatoriali adottate nei musei della moda italiani, investigando in particolare quelle adottate dal museo aziendale Gucci Garden di Firenze.
Una prima parte introduttiva tratta delle principali occasioni espositive di moda in Italia, tracciandone al contempo l’evoluzione storica. Lo sviluppo più recente del fashion curating viene inoltre rappresentato dall’analisi di due mostre italiane, Bellissima e Italiana, e di una internazionale, Heavenly Bodies, tenutasi al Costume Institute di New York. Si sono poste a confronto tre istituzioni pubbliche per la conservazione e l’esposizione di abiti – il Museo della Moda e del Costume di Palazzo Pitti, il Museo di Palazzo Mocenigo e il Museo Costume Moda Immagine di Palazzo Morando – e tre musei privati, di altrettanti brand di moda italiani – il Museo Ferragamo, l’Armani/Silos e il Valentino Garavani Virtual Museum. Infine, l’ultimo capitolo si occupa nello specifico del museo aziendale Gucci a Firenze, descrivendone l’allestimento, a partire dalla sua apertura fino alle più recenti modifiche espositive. Attraverso l’analisi di tali spazi espositivi si è voluto indagare quali sono i vantaggi e gli ostacoli di ognuna delle differenti tipologie di istituzione museale, soprattutto facendo riferimento all’obiettivo di valorizzazione della storia e della moda italiana, oltre che dei suoi protagonisti.
31
Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.
Testo completoAbstract (sommario):
Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
32
Martins, Leilane Rigatto. "Moda, arte e interdisciplinaridade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-13052013-134330/.
Testo completoAbstract (sommario):
A presente pesquisa estuda arte e moda buscando relacionar as duas áreas de conhecimento por meio das teorias interdisciplinares. A parte principal da pesquisa se concentra no estudo de três atos interdisciplinares ocorridos entre os artistas contemporâneos Stephen Sprouse, Takashi Murakami e Vanessa Beecroft produzidos em parceria com Marc Jacobs, diretor criativo da Louis Vuitton. Esses casos de estudo foram selecionados levando em conta o encontro entre moda e arte que busca enfatizar a ação benéfica da arte no produto de moda e da moda no campo da arte. A partir desses casos são levantadas questões pertinentes aos campos da arte, do design e da moda, evidenciando a troca entre eles, em que permeiam a complexidade que demanda um processo integrativo. Há interesse em investigar a qual tipo de interdisciplinaridade cada ato interdisciplinar atende, bem como estudá-los sob um olhar filosófico, sociológico e também sob algumas teorias da arte. Entende-se que o estudo interdisciplinar da moda relacionado a outras áreas concorre para formalizar a pesquisa neste campo.<br>This research studied art and fashion trying to relate the two areas of knowledge through interdisciplinary theories. The main part of the research focuses on the interdisciplinary study of three acts occurring among contemporary artists Stephen Sprouse, Takashi Murakami and Vanessa Beecroft produced in collaboration with Marc Jacobs, creative director of Louis Vuitton. These cases were selected taking into account the encounter between fashion and art that emphasizes the beneficial action of the art in fashion product and fashion in art. From these cases are raised issues pertaining to the fields of art, design and fashion, showing the exchange between them, in which permeate the complexity that demands an integrative process. There is interest in investigating which type of interdisciplinarity meets every act and study them under a philosophical, sociological look and also under some theories of art. It is understood that the interdisciplinary study of fashion related to other areas contributes to formalize research in this field.
33
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.
Testo completoAbstract (sommario):
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.
34
Hval, Ali. "Nearly symmetrical and definitely ostentatious." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6769.
Testo completo
35
Carmichael, Elisa J. "How is weaving past, present, futures?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.
Testo completoAbstract (sommario):
This researcher is a descendant of the Quandamooka people from Minjerribah and Moorgumpin, North Stradbroke and Moreton Island. This practice-led research project explores the application of traditional weaving techniques in creating contemporary forms of fashion acknowledging the strength and structure of weaving practices across Australia. The resulting collection of the researchers woven garments is thus both a cultural expression and political statement. As a practicing Indigenous visual artist, this paper is a brief introduction to the researchers contribution to Indigenous Australian Fashion.
36
Щуцька, Ганна, Ольга Патлашенко та Тетяна Безсмертна. "Використання художнього розпису та нових технік декорування в колекціях art та fashion дизайні одягу та взуття". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10599.
Testo completoAbstract (sommario):
Проаналізовано тенденції в декоруванні сучасних колекцій аrt та fashion дизайну одягу та взуття молодих дизайнерів. Метою досліджень є визначення нових технік декорування в сучасних колекціях індустрії моди. Охарактеризовано сутність декоративного розпису в сучасних колекція молодих дизайнерів, як один із видів мистецтва та створення ексклюзивного виробу.<br>The tends in decorating modern art and fashion clothes and footwear design collections of young designers are analyzed. The goal of research is to identify new techniques of decorating in modern collections in the fashion industry. The essence of art painting in a modern collection of young designers is described, as one of the types of art and the creation of an exclusive product.
37
Knabikaitė, Indrė. "Vakarų Europos ir sovietinės mados sankirta 1960 - 1970 metais Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_145404-61151.
Testo completoAbstract (sommario):
Magistro kvalifikaciniame darbe analizuojama 1960 - 1970 metų mada Lietuvoje. Darbo tikslas išanalizavus septintojo dešimtmečio Vakarų Europos ir sovietinės mados tendencijas, naudojant lyginamosios analizės metodą, palyginti su Lietuvoje vyravusiomis ir nustatyti jų transformacijos priežastis. Atlikta mokslinės literatūros analizė ir empirinis tyrimas iš esmės patvirtino darbe iškeltą hipotezę - madų tendencijos Lietuvoje atsiliko (laiko atžvilgiu) nuo Vakarų Europos, jaučiamas šių madų tendencijų skirtumas, atkeliavusios iš Vakarų Europos madų tendencijos Lietuvoje transformavosi.<br>There is analysing 1960 - 1970 years Lithuanian fashion trends in this master qualification work. Aim of work is analysing seventh decade West Europe's and Soviet fashion ruling trends, using comparative analysis method, compared to Lithuanian and to set the causes of this transformation. An analysis of scientific literature and an empirical study in principle approved the hypothesis in this work that the fashion trends in Lithuania felt behind (by time) comparing to West Europe's, appreciable the difference between West Europe's and Soviet fashion trends and the trends which came from West to Lithuania transformed.
38
Laraman, Debra. "Re-fabricate evolving design through user interaction : exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/810.
Testo completoAbstract (sommario):
This research project focussed on discarded clothing and textiles, as signifiers for the lowest exchange value in the fashion system, and sought methods to add value by up-cycling1 into one of a kind fashion garments. Opportunities to add value were investigated with three main ideas emerging which include up-cycling the visual appearance of the garment or textiles through restyling, user interaction, and creating a narrative for the garment. The practice focussed on developing methods to incorporate these concepts as a way of extending the life of low value textiles into items that could be re-introduced into the fashion cycle2. Walker (2008) suggests that by conveying the story of a product to the consumer, the perception of value increased, and opportunities to explore this concept were investigated during the project. Experimentation with a variety of materials and techniques resulted in developing a method to re-fabricate3 threadbare and stained garments into a new material. User participation4 was investigated as a way to ‘add value,’ as it was hoped that by enabling the user to interact with the design they would value the item more. Exploring this concept led to the development of a range of garments and garment kits that enabled the user to learn techniques and make garments using discarded textiles and clothing. The garments and kits were developed using methods and techniques that could be easily mastered and used materials that would be readily available to the user. The development of the garment kits reframed the user as a designer/maker, which is sometimes referred to as participatory design,5 and Followed Fletcher’s (2008) directive that for practical reasons, the methods need to be low tech and inexpensive. A group of research participants trialled the garment kits, made their own garment and provided feedback, which informed the final phase of the project and the development of revised kits and garments. The project suggests potential opportunities for the fashion designer may exist by focussing on the use of existing resources and heightened user connectivity in the design of garments.
39
Lee, Youjung. "A study on the application of contemporary visual art into flagship stores of luxury fashion brands." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/8568.
Testo completoAbstract (sommario):
Luxury fashion brands face a new challenge as to how to sustain brand growth while maintaining the exclusivity of brands due to the democratisation of the luxury phenomenon which is mainly driven by the emergence of ‘new luxury’ and changes of consumption style ‘trading up’. Luxury consumers are becoming disillusioned with the vulgarisation of luxury goods and prefer exclusive luxurious experiences. In order to keep pace with the changes in luxury consumer needs and promote an image with creative and luxurious connotations, luxury brands increasingly associate with contemporary visual art through diverse kinds of channels. Among the channels, great attention has been given to contemporary visual art exhibitions within a flagship store due to its benefits: geographical location, cutting investment cost and offering direct art experience to consumers. However, there is no theoretical research investigating the main points to be considered in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands. Moreover, there is a need for a systematic approach in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands as relying mainly on a designer’s intuition might pose a problem: delivering different messages from those intended. Through the research, four main propositions were identified which need to be considered when luxury fashion brands apply contemporary visual art exhibitions to their flagship stores: 1) brand communication with consumers, 2) the fit between brand identity and that of an artist, 3) consumers’ value/benefits in the way that enhance consumers’ aesthetic experience of art and 4) artists’ value/benefits. Models including a conceptual model and a design tool kit were developed and tested with experts in this field. The proposed models are decision supporting tools which provide a comprehensive overview regarding the main points to be considered as well as support finding a high fit artist to brand identity. They offer advantages as follows: 1) the conceptual framework improves understanding of the needs/values of the three main stake holders such as luxury fashion brands, consumers and artists for this practice and provides an insight into how to address them in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands 2) the tool kit assists in making a decision when selecting artists or artworks and offers benefits to all the stake holders: 1) luxury brand value by managing their touch points effectively that ultimately lead to enhancing brand communication, 2) consumer value by preventing confusion caused by disharmonious messages from all the touch points within flagship stores, and 3) artist value by finding a matched brand for synergy between brands and artists.
40
Garbossa, Sefora <1995>. "Quando l'arte ispira l’alta moda, l'intreccio dai fashion studies alle creazioni artistiche dei brand di lusso." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17422.
Testo completoAbstract (sommario):
L'obiettivo del presente elaborato di ricerca è quello di esaminare il rapporto che intercorre tra l'arte e la moda. Il focus verterà su una breve storia della moda attraverso i secoli, dal significato di lusso fino all’industria di massa, passando per lo sviluppo del prêt-à-porter e la nascita dei grandi marchi dell'alta moda. L’approccio adottato sarà centrato nello studio dei fashion studies, la valenza sociologica che attribuiamo alla moda e il rapporto che i marchi dell'alta moda hanno con l’arte.
41
Walker, Sue. "Resurgence this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/372.
Testo completoAbstract (sommario):
Exegesis (MA--Art and Design) -- AUT University, 2008.<br>Includes bibliographical references. Also held in print (111 leaves : col. ill. ; 22 x 30 cm.) in the Archive at the City Campus (T 746.92 WAL)
42
Hibner, Jacqueline Rose. "Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/5489.
Testo completoAbstract (sommario):
This thesis is an examination of contemporary artist Mariko Mori's use of fashion in her work from 1993 to 2001. Contained within her sartorial phrasing is an involved relationship with the body, female and Japanese, as it exists within technological modernity. Tumult characterizes Mori's body as she images it early on in her career. This highly alienating space in which she positions herself gradually transitions to a space of respite for the performative body of another actor by 2001's Wave UFO. Wave UFO creates a mediated space for healing the modern body plagued with isolation through transcendence provided by technological means. Minimalist fashion, as a kind of plastic mechanization of corporeal experience, helps to accomplish this healing. Mori's Wave UFO attendant costumes present minimalist fashion as a location for reconciling spiritual identity in a postmodern age. The flat-panel costumes have the effect of disfiguring the bodies of the attendants into amorphous plasticized shells (much like the backdrop of the Wave UFO) and mechanizing the movements of the wearer. The sleek technological sensibility of the costumes, in conjunction with the stark sterility of the immersive Wave UFO interior, are the culminating expression of the ambivalent liminality Mori's body takes from 1993-1999. This is a body that floats between absence and presence, self and other. This thesis begins with a survey of Mori's 1990s work, including her 1994 self-portrait series that launched the artist into international recognition. The 1993-94 self-portraits present a playful mimicry and a self-aware exploration of regional dress as it is found on the streets of Tokyo. By the end of the decade the play shifts to minimalist self-denial that achieves a transcendence of the imaged body once grounded in the urban self-portraits. After exploring necessary and appropriate contexts of Japanese fashion and other cultural contexts, the thesis culminates in an extended analysis of Mori's 2001 Wave UFO installation. Mori's suggestion that technology can achieve transcendence of the body furthers the theorization that minimalist fashion overcomes the physical and ideological boundaries of human existence in a modern world.
43
Bågander, Linnea. "MOViEMENT." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17066.
Testo completoAbstract (sommario):
This work explores the relationship between body and garment in movement. The method for investigation this meeting is through geometrical shapes that are applied on three points on the body. When researching materials, mesh was the most interesting one in its way of responding to the movements and it was easily combined with other material, when combines the effect from the movement increased. The dialog of movement is depending on the space between garment an wearer. It is in the space that the restrictions and the possibilities are created. The shapes are lacking details of traditional garments and are far from the commercial fashion scene to take this work further more garment-like influences could be added, it might also make the work easier to grasp for the audience.<br>Program: Modedesignutbildningen
44
GOMES, Lavínnia Seabra. "A matriz de gravura como elemento de moda." Universidade Federal de Goiás, 2007. http://repositorio.bc.ufg.br/tede/handle/tde/2782.
Testo completoAbstract (sommario):
Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1
Dissertacao Lavinnia Seabra Gomes.pdf: 4133155 bytes, checksum: 76db450d0f822c64c63bbf09e3d6a425 (MD5)
Previous issue date: 2007-04-11<br>This dissertation developed on the line of studies in Contemporaneous Processes
of Visual Image Prodution, of the Masters in Visual Culture of Visual Arts
University, from UFG (Federal University of Goiás) resulted in plastic productions,
were fashion and tecnics of figure, blend toghether forms, materials and images.
The objective of this work, was concetrated on the matrixies creation, that didin t
fall into the ordinary tradictional element, and could be applied to the clothing
element, without loosing its main features or the question of the multi. The couttion
linking some objects the concepts of protection, decency or tradictionally ornament
related to fashion. The important factor in this research is highlight the possibillity
of conceiving the figure impression in another type of support, in our case, 3
dimensional (clothes), and conceive those images trough electronic devices,
without leavingout the multiplicity principles and impression. All the time we have
been searching for another form of visual conception of figure between the mode
and all of yours industrials tendences. So many ideas and questionings have come
up as webecame more and more familiar with the process, and what is pointed to
another series of creative utilization. Following that line of poetic study, owing
particularity, what singled each student of art, thoes productions make o out
experiences of world in something to be admirable or not, favoring each receptor of
plastic produtions, or diferents interpretations what give to then the better
understanding.<br>Esta dissertação desenvolvida na linha de pesquisa em Processos
Contemporâneos de Produção de Imagens Visuais do Mestrado em Cultura Visual
da Faculdade de Artes Visuais da UFG resultou em produções plásticas em que a
moda e as técnicas da gravura se mesclam em formas, materiais e imagens.
O objetivo deste trabalho esteve centrado na criação de matrizes que
fugissem do tradicional da impressão em relevo e que pudessem ser aplicadas ao
elemento roupa, sem perder a característica principal, ou seja, a questão do
múltiplo. Em nenhum momento tem-se a preocupação em vincular a tais objetos
os conceitos de proteção, pudor ou enfeite tradicionalmente relacionados à moda.
O fator importante nesta pesquisa é destacar a possibilidade de conceber a
impressão da gravura em outro tipo de suporte, no nosso caso, o tridimensional
(roupa) e conceber as imagens através de equipamentos eletrônicos sem se
esquecer dos princípios de multiplicidade e impressão.
A todo instante buscou-se outra forma de concepção visual da gravura
através da moda e de todos os seus aparatos industriais. Muitas idéias e
questionamentos surgiram, à medida que se conhecia mais a fundo o processo de
impressão da gravura e que instigavam a uma outra série de utilizações criativas.
Partindo do pensamento de que a pesquisa poética possui uma
particularidade que singulariza cada pesquisador artista, estas produções
exteriorizam experiências de mundo em algo para ser admirado ou não,
favorecendo a cada receptor das produções plásticas a interpretação quê melhor
lhe convier.
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Dreher, Anne M. ""Proud as a peacock" an historic and semiotic analysis of illustrated "Vogue" magazine covers from 1909 and 1911 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798480841&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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46
Morley, Jane. "Conceptual fashion : design, practice and process." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/62703/1/Jane_Morley_Thesis.pdf.
Testo completoAbstract (sommario):
While Conceptual fashion design practices have been a pervasive influence in fashion since the early 1980s, there is little academic analysis that might explain how they are distinct from conventional fashion design practices. In addition, fashion practitioners have not historically contributed to fashion research. As a result, contemporary fashion practitioners have difficulty setting critical contexts and expanding their creative work as there is little relevant literature available from practitioner perspectives. This project uses practice-led research to develop a discourse for understanding Conceptual fashion design process and how it relates to more conventional fashion design practices. In this exegesis I use Conceptual art as a lens to expand understandings of Conceptual fashion and my own creative practice. This analysis demonstrates that there are valuable connections to be drawn between Conceptual art and Conceptual fashion practice. In particular, these connections reveal the differences between the way Conceptual and more conventional fashion designers relate to the conceptual and the visual in their design process. This exploration demonstrates that while fashion is a visual field, Conceptual fashion designers produce a more ‘intellectual’ type of fashion that uses the visual to communicate ideas that question the nature of fashion. I explore the relevance of these ideas through application and experimentation in my creative practice projects by drawing from systems and rules identified in the work of early Conceptual artists and contemporary Conceptual fashion designers.
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Ivanova, Ninela. "The T-probe : a fashion-led approach to advance understanding of novel and challenging material concepts and sensory experiences." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/37797/.
Testo completoAbstract (sommario):
The aim of this project was to pilot, assess and develop the globally worn everyday garment – the ‘humble’ T-shirt – as a wearable probe, defined in this research as the T-probe, to advance engagement with, and understanding of, challenging concepts relating to novel materials and sensory experiences. In the course of addressing this primary aim the research expanded into a three-part enquiry reflecting the complexity of factors involved in introducing novel material concepts via a design probe, and attaining sensory experience and perception data via the two-pronged approach of observation and self-reported measures. The value of the T-probe was thus explored via three separate but methodologically interlinked projects, selected based on common challenges associated with public perception and engagement: Project (I) Fungi materials for clothing: Explores perception of mould as a novel material for garment design and fabrication. Project (II) Fashion for deafblind people: Studies how a fashion experience may be introduced to a sensitive user group, i.e. people with visual and auditory impairment. Project (III) Synthetic ingredients for fine fragrance: Engages consumer understanding of synthetic ingredients in perfumery ii Research Project (I) was a pilot study based on the researcher’s personal design interest in the development and market introduction of novel biobased materials. Projects (II) and (III) were set up in partnerships with non-academic organisations: the charity for deafblind people Sense and the global company International Flavors and Fragrances (IFF) respectively, to further test the value of the T-probe in advancing understanding of materials and sensory experiences within contexts of social and / or market interest (s). The findings of the research enquiry demonstrate that the T-shirt is well accepted and engaged with, and functions well as a probe in eliciting and enhancing participant sensory experience and perception of novel and challenging material concepts. By following a systematic approach to the design and implementation of the T-probe from concept to actualisation, this doctoral research project contributes to an advanced understanding of issues related to the design and application of probes to fulfil specific research and design objectives within the various evolutionary stages of materials, products, technologies, and consumer experiences.
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Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.
Testo completoAbstract (sommario):
The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.
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Grasser, Hildegard Irene. "From art to artefact: meaning-making processes across the three major subjects in a Diploma in Fashion." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12012.
Testo completoAbstract (sommario):
Includes abstract.<br>Includes bibliographical references.<br>Investigations in the field of Fashion design education have not taken into account that students need to negotiate three very different subjects. In particular the technical side, namely pattern making and garment construction have not received enough attention. Over the years I have found the same difficulties among students as they negotiate the three main subjects. Their encounter with the technical subjects, presents particular difficulties. In order to explore these difficulties, this study investigates the meaning-making processes of beginner students as they move from drawing and designing to production of a garment. By identifying and analysing the practices of a beginner, I examine how students become multimodally literate across the three subjects.
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Rice, Erin [Verfasser]. "The Pattern of Modernity: Textiles in Art, Fashion, and Cultural Memory in Nigeria since 1960 / Erin Rice." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1213724899/34.
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