Unravelling design : fashion, dressmaking, ethos

Discourses on ethical fashion are usually geared toward finding solutions—or right outcomes—to ethical problems, based on a teleological model of design and a positioning of the designer as an autonomous and isolated design authority. This practice-led project argues, however, that considerations of design ethics must take into account not only the outcome of a design, but also the ongoing, lived experience of designing as a making located in pre-existing social, historical and cultural conditions. Through an exploration of my own dressmaking practice and a reading of ethos as location, I argue for two things: one, for the designer as a located entity rather than an autonomous "author", and, two, against design-asplan and the original design object, and for the circular and conditioned character of design. Through a connection to ethos, understandings of design ethics shift from an end object focus to something situated, and invested in, everyday lived experience—and always in the making.

Re-framing fashion : from original and copy to adaptation

Partington notes that clothing produced by individual consumers through adaptation of patterns is contextualised as a watered down version of original couture. In its most reductive form, this notion characterises fashion as commercial and exploitative. Descriptors such as appropriation, imitation, copy and so forth have restricted the opportunity to understand fashion as a major global cultural form and institution. Therefore exploring and understanding the concept of adaptation will shift the attention from a superficial assessment of original versus imitation or copy to adaptation as a practice that provides a better framework for the understanding of designers’ and couturiers’ innovative practices and creativity, describing also the active engagement of consumers with fashion at the micro level. Adaptation can also provide a way to understand different historical shifts in the fashion system, from individual creative agency with home dressmaking and re-making to the explosion of the mass market and the consequent abandonment of such practices. Home dressmaking has been replaced by fashion remix of mass produced garments, a practice that thrives in our environment of globalised fast fashion. Thus this chapter suggests the need for a contextual requalification of concepts such as original, copy, imitation and copyright, and argues that these categories have been played against each other, but they are in fact interdependent. Today, big labels and conglomerates try to control knowledge and innovation through copyright, but, fashion escapes copyright because, in fashion, creativity is contextual. The institutionalisation of couture from 1868 served as a way to control knowledge about production processes in fashion; on the other hand, adaptation practices, often subversive, have been fundamental to the democratisation of fashion.

Progressive dysgraphia in a case of posterior cortical atrophy

Dysgraphia (agraphia) is a common feature of posterior cortical atrophy (PCA). However, detailed analyses of these spelling and writing impairments are infrequently conducted. LM is a 59-year-old woman with dysgraphia associated with PCA. She presented with a two-year history of decline in her writing and dressmaking skills. A 3D T1-weighted MRI scan confirmed selective bi-parietal atrophy, with relative sparing of the hippocampi and other cortical regions. Analyses of LM's preserved and impaired spelling abilities indicated mild physical letter distortions and a significant spelling deficit characterised by letter substitutions, insertions, omissions, and transpositions that was systematically sensitive to word length while insensitive to real word versus nonword category, word frequency, regularity, imagery, grammatical class and ambiguity. Our findings suggest a primary graphemic buffer disorder underlies LM's spelling errors, possibly originating from disruption to the operation of a fronto-parietal network implicated in verbal working memory.

Tilausompelijan ja asiakkaan näkemyksiä laadusta

The aim of the study was to find out what kind of view on product quality dressmaker and customer have, how the views differ from each other and how the difference affects dressmaker s work as an entrepreneur. The research data consists of eight thematic interviews: four dressmakers and four customers were interviewed for the study. In the core of customised dressmaking is arelationship between a maker and a client. The product of a dressmaker, a unique dress, is created in an immediate interaction between a dressmaker and a client. Also the quality of a unique dress derives from this interaction. In the results of this study, the views on quality are linked with six themes: dress, process, dressmaker, customer, interaction and enterprise. The dressmakers and the customers agree that the quality of a custom-made dress is based on unique fit. Describing the process the dressmakers insist on the quality of manufacturing. The clients' view on process insists on those phases where they themselves take part: designing and fitting. The personality of the dressmaker is part of quality in both the dressmakers' and the customers' points of view. The dressmakers and the customers are also aware of the customers impact on fulfilling the expectations. The immediate interaction between dressmaker and customer is a key to the unique dressmaking. At its best the interaction is followed by a trusting relationship. Entrustment derives also from a good reputation, which is essential in dressmaker-entrepreneurs marketing strategy. The dressmakers views on quality are product- and manufacturing-based. According to the results of the study there can be seen different types of dressmakers, that emphasise different aspects of quality. At the other end is a manufacturing-based, even transcendent view on quality, which rests on the values of the dressmaker. At the other end lies a customer- and value-based approach, which is founded on fulfilling the expectations and needs of the customer. In their views on quality the customers emphasise the immediate interaction between dressmaker and client. Keywords: quality, dressmaker, customer, entrepreneur

A text-book of needlework, knitting, and cutting out : with methods of teaching /

Mode of access: Internet.

Demorest's family magazine.

Volume numbering is irregular: v. 5 is omitted and v. 10 is repeated.

Zum fünfundzwanzigjährigen Bestehen der "Modenwelt." 1865-1890.

Mode of access: Internet.

Designing apparel through the flat pattern,

Mode of access: Internet.

Principles and problems of pattern making as applied to women's apparel,

Mode of access: Internet.

Pattern grading, simplified; a manual for grading women's, misses', juniors' and children's dresses, suits and coats.

Mode of access: Internet.

Clothing construction ...

Mode of access: Internet.

Practical dress design, a laboratory manual in fitting and free-hand pattern making

Lithoprinted.

Applied pattern designing, illustrated; based on the patternmaking methods of Abram Mayer.

Mode of access: Internet.

Sewing materials : textiles, laces, embroideries and findings, shopping hints, mending, household sewing, trade and sewing terms.

Includes index.