Connections between Modern and Postmodern art and fashion.

This paper undertakes to construe the affinities and divergences in the genres of art and fashion throughout the 20th century through the use of particular visual and theoretical examples, examined at greater length in a more extensive study of ‘The relationship between the artist and the fashion designer in the twentieth century’ (Vettese, 2005). Examination of the 20th century has revealed two particular periods – ‘Modernism’ and ‘Postmodernism’ – that were evident and fitting to this analysis. The research is a summation of these findings, where the differences and affinities in the mechanisms of 20th century art and fashion, including imposing messages and innovation in Modernism and the mixed messages, recycling and commercial aspects of Postmodernism, are disseminated.

A visual and contextual comparative study of the work of Picasso and Chanel towards an understanding of the overlaps between Modern Art and Fashion.

From the beginning of the twentieth century, ``Modernism`` impacted and transformed art and clothing. Pablo Picasso and Gabrielle ``Coco`` Chanel were two of the most central characters in Modernism working simultaneously in their disciplines. Picasso`s innovations, particularly in abstract art and Chanel`s fashion designs, that dramatically departed from the previous corseted and highly deco-rative styles, were so significant that they have left an influence on contemporary art and fashion. This study will compare their visual works and documented evidence of their motivations, within the context of their cultural backgrounds, to reveal meaning in the occurrences of overlaps. This approach has ex-amined the historical, cultural background of the artist and designer`s environment from different per-spectives, adding to previous research in this area. Through this research, outcomes of the analysis have shown similarities and divergences in the wider genres of art and fashion and the practice of the artist and fashion designer. The reference list to this text, used in the survey, gives a comprehensive overview of pertinent publications disseminating Picasso and Chanel`s visual works, oral perspectives and cultural impact.

Imigrantes bolivianos em São Paulo : a Praça Kantuta e o futebol

Universidade Estadual de Campinas . Faculdade de Educação Física

Arte e moda

Análise da moda no vestuário enquanto Arte, passível de análise estética respectivos critérios e ligação às artes plásticas. É ainda analisado, no âmbito desta problemática, a evolução do estatuto social do criador de Moda e a Moda na actualidade. ABSTRACT: The aim is the study of fashion in clothing as Art, the aesthetic criteria of its analysis and its connection with other arts. It is further analyzed, in the context of this problem, the evolution of status of fashions creators and Fashion today.

Suomalaisen muotisuunnittelun managerointi

Tämän kulttuurituotannon opinnäytetyön aiheena on suomalaisen muotisuunnittelun managerointi. Lähtöoletuksemme on, että suomalaisilla muotisuunnittelijoilla olisi potentiaalia saavuttaa nykyistä parempi asema niin kotimaassa kuin kansainvälisilläkin markkinoilla, jos alalle saataisiin liiketoiminta- ja markkinointiosaamista manageroinnin muodossa. Parityönä toteutetun työmme lähtökohtana onkin selvittää, minkälaiselle managerointitoiminnalle vaatetusalalla olisi Suomessa tarvetta. Tavoitteenamme on myös kartoittaa vaatetusalalla vallitsevia käsityksiä muotimanagerin toimenkuvasta sekä selvittää millaisia palveluita muotisuunnittelijat haluaisivat mahdollisesti managerilta ostaa, ja millaisessa muodossa tehdä yhteistyötä managerin kanssa. Tutkimustavoitteet saavuttaaksemme päätimme tutkia muotialalla eri tehtävissä toimivien ammattilaisten sekä vaatesuunnittelun opiskelijoiden käsityksiä manageroinnista. Lisäksi tutkimme muodin managerin tärkeimpiä osaamisalueita, verkostoa, persoonallisuustekijöitä ja koulutusta. Tutkimusmenetelminä olemme käyttäneet asiantuntijahaastatteluja sekä kyselytutkimusta Taideteollisen korkeakoulun vaatesuunnittelun ja pukutaiteen koulutusohjelman opiskelijoille. Aineiston pohjalta hahmottelemme oman määritelmämme muotimanagerin mahdollisesta toimenkuvasta ja tarkastelemme kriittisesti alan mahdollisuuksia maassamme. Tutkimusaineiston analyysista käy ilmi, että manageroinnille olisi selkeä tarve suomalaisella vaatetusalalla. Alan ammattilaiset korostavat kuitenkin, ettei pelkästään Suomen kokoisista markkinoista ole riittäväksi kasvualustaksi managerointialalle, vaan he näkevät kansainvälistymisen ja vientiin panostamisen perusteluna muodin manageritarpeelle. Vaikka aihe oli monille opiskelijoille täysin uusi, yllätyimme positiivisesti heidän myönteisestä suhtautumisestaan managerointiin. Tulos luo uskoa siihen, että vaatesuunnittelijat yleisestikin olisivat halukkaita hyödyntämään managerin palveluita. Suuri kynnyskysymys manageroinnin kehittymiselle on kuitenkin rahoituksen puute vaatetusalalla. Muotisuunnittelun managerointi voi kehittyä kannattavaksi toimialaksi vain pitkäjänteisen työn avulla. Työmme kautta haluamme tuoda esiin uudenlaisen näkökulman kulttuurituottajuuteen, sillä uskomme, että kulttuurituottajan osaamista voisi hyödyntää myös muodin kentällä.

Plan de empresa "Dorcé"

Dorcé es una idea de negocio que responde de manera directa a la necesidad de vestir de las mujeres a través de su innovador sistema operativo “Diseño y confección a tu manera” el cual tiene como objetivo revolucionar la tradicional forma de adquirir prendas de vestir femeninas en la ciudad de Villavicencio. Desde su creación y ejecución, se ha observado una gran aceptación de dicho sistema operativo por parte de los clientes antiguos generando muy buenos resultados económicos partiendo de sus actividades principales, el diseño, la confección y venta de prendas de vestir femeninas. Es por esto que el desarrollo de este trabajo de grado va dirigido a organizar de una manera más administrativa los diferentes procesos que se llevan a cabo dentro de la organización a fin de conseguir incrementar la producción y llegar así a un grupo más amplio de clientes con base en sus necesidades y a las actuales tendencias de la moda. Esta labor tiene como fin, responder y satisfacer a la mujer villavicense en términos de moda, servicio y confección, agregándole un valor adicional en cuanto a menores tiempos de entrega, altos estándares de calidad y exclusividad. Todo lo anterior, en un solo lugar. El sistema operativo (factor diferenciador) de esta idea de negocio consiste en ofrecer a los clientes, diferentes modelos de las partes (cuello, manga, contorno, falda y panty) que componen las prendas que fabrica Dorcé (Blusa, vestido y traje de baño). Con el fin de que el cliente pueda armar la prenda a su gusto teniendo el plus de ir “a la medida”. Dicha prenda de carácter exclusivo, es confeccionada y entregada al cabo de un máximo de 3 días dependiendo de la complejidad que tenga para ser elaborada, garantizándole al cliente no solo la originalidad del diseño de su prenda sino también fabricarla en menor tiempo que la competencia. Es un producto y un servicio innovador que va dirigido a mujeres de quince a setenta años de edad de la ciudad de Villavicencio, mujeres de media y alta sociedad que se caracterizan por su gusto por la moda y la calidad. Una vez se satisfacen las necesidades de nuestros clientes se da lugar a nuevas ventas dentro del grupo social de cada una de ellas, una vez nos refieran de manera positiva con sus amigas y conocidas. Este tipo de publicidad (voz a voz) es la que ha llevado a Dorcé a crecer a través de los años sin perder la exclusividad de su mercado; sin embargo, en la actualidad, la idea de negocio carece de estructura empresarial adecuada, de estrategias que garanticen su crecimiento y sostenibilidad, también carece de recursos financieros inmediatos que faciliten la ampliación y adecuación de la planta de producción y del almacén. Es por ello que las actuales empresarias de esta idea de negocio tienen como objetivo, mediante la elaboración de este plan de empresa, desarrollar, organizar y mejorar las estrategias, acciones, objetivos, alianzas, cambios, inversiones, que se tienen y necesitan para el mejoramiento interno y externo de la compañía. Para el desarrollo de dicho plan, Dorcé cuenta con Doris Blanco, una diseñadora de modas de 25 años de experiencia en el sector textil y confección en la ciudad de Villavicencio, quien está a cargo del área de producción de la empresa, dos estudiantes de Administración de Negocios Internacionales, Fernanda Montes y Juliana Villamizar, quienes están a cargo de la parte administrativa, comercial y estratégica de la empresa. De igual forma cuenta con el conocimiento del mercado textil y de confección, así mismo amplias relaciones que se han venido fortaleciendo a través del tiempo con los diferentes proveedores de materia prima en la ciudad, maquinaria y materia prima inicial, cerca de sesenta mujeres que se han vinculado a la empresa como clientes fieles a la idea de negocio promocionándolo de manera positiva día a día, así como también el interés, empuje y compromiso por parte de las involucradas en desarrollar, ejecutar y sostener esta idea de negocio como proyecto de vida.

Um estudo sobre o desenho aplicado ao design

Although technological development has created several tools and techniques of graphic representation, we highlight here the importance of the manual drawing abilities for the design creative process. Freehand drawing is used to facilitate the development of projects and show them more quickly and efficiently, and is an essential technique for any designer, regardless is informational, product or fashion designer.

Sunray etched Visors for the Jamaican Olympic Team in three colours: yellow, green and black

Design for visors for the delegation from Jamaica to the London Olympic Games 2012. This design was commissioned by PUMA 2012 based on McLean's designs featured in the website House of Flora, which functions as a space of display, archive, folio, point of sale and dissemination. The McLean standard design for visors is a component of the avant garde, pret a porter millinery, accessory design collections, and stylistically customised for the Jamaican team. McLean's oeuvre is original in its integration of the experimental traditions of art school workshop culture with the professional demands of fashion manufacture and trade culture. Combining the innovation of the postmodern urban artisan with the exacting demands of industrial production, dissemination and distribution McLean's design work spans the disparate worlds of national art collections such as the Victoria and Albert Museum (A Hat Anthology Exhibition, and catalogue 2009), London Design Museum ( Fifty Hats that Changed the World 2009). Integrating design considerations of multiple and mass production with the stylistic considerations of the studio workshop McLean brings the wit of the avant garde urban artisan to the structures and systems of fashion industry. The designs reach to a global audience as product users, as well as to the international connoisseurship of crafts and design specialists. The rigour of McLean's research and innovation is evident in the specificity of the stylistic references made through her selection of materials, processes, form, colour and symbolism. A range of cultural references cite the rich fusion of early twentieth century modernist culture in which the disparate worlds of popular, proletarian, culture fertilised the stylistic austerity of high modern formalism. McLean here considers the relationship between millinery and coiffure, following from the millinery piece featured in (Marcel bobbed hairpiece hat), and now brings the considerations of ethnic difference to bear on her design. Afro hair brings user group specificity to the milliner, and the visor design is a resolution of function and style for both protection and display. Connoting the sartorial conventions of workwear headgear, rather than the nineteenth century colonial 'cricketer's' cap, or the twentieth century US 'baseball' peaked cap, McLean's 'Jamaican Olympic Visor' brings distinctively postcolonial meaning to the cultural profile of the heterotopic media space. Designing for the popular culture of Olympic sports, televised and broadcast to global audiences, brings new forms of agency to the fashion designer, and McLan's design deploys a style that is widely recognisable from other popular culture's film and TV depictions of workwear to mark the distinctive tradition of supremacy that black athletes bring to the European traditions of cultural heritage. Supplanting the Arcadian 'laurels' with which winners are, traditionally, crowned, McLean's visor design innovation, suggests that it is not impossible to challenge and transform apparently timeless hierarchies of power and supremacy, so that ex-slaves may also become victors. McLean's fashion designs all work within this reach of fashion towards the carnivalesque inversion of social orderliness through play, display and sartorial activism.

Relating Innovative 2D Ideas into 3D Garments in Terms of Structure, Using ‘Sculptural Form Giving’ as an Intermediate Step in Creation.

This research focuses on finding a fashion design methodology to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model. The author, both as a fashion designer and a researcher, has witnessed the issues which arise, regarding the loss of some of the initial ideas and distortion during the two-dimensional creative sketch to three-dimensional garment transfer process. Therefore, this research is concerned with fashion designers engaged in transferring a two-dimensional sketch through the method ‘sculptural form giving’. This research method applies the ideal model of conceptual sculpture, in the fashion design process, akin to those used in the disciplines of architecture. These parallel design disciplines share similar processes for realizing design ideas. Moreover, this research investigates and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale. In summation, this research proposition focuses on helping fashion designers to produce a creative method that helps the designer transfer their imaginative concept through intermediate modeling.

O design de moda e a indústria

Dissertação para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitetura.

Creative Practices Around the Production of Cork

Cork, as a natural product provided by the bark of the cork oak tree, is an important staple of the Portuguese economy and important to Portuguese culture. It is a sustainable product with a positive ecological footprint, from harvesting to industrial production, with the advantage of creating a local economic model through regional labour activity and distribution. Within the balance between nature-human-economy to create a sustainable system, cork production in Portugal represents a human and social dimension. By focusing on that dimension and by creating an awareness of the cultural and social impact of the activity and by re-appraising the meaning of the material within the culture, the study reframes a consideration of the actual place of labour and production. The human, geophysical, historical, social, economic, ecological and cultural aspects of the place are observed as regards their relation to work or labour in that physical space. A pilot study is being developed in the village of Azaruja in the district of Évora, Portugal. In this small locality, cork is very important in terms of the relationships between the physical subsistence of their residents and the local natural resources, because it structures the place in its cultural, social and economical dimensions. This paper outlines the theoretical foundations, the process and the outcomes of the participatory ecodesign project titled Creative Practices Around the Production of Cork which was initiated by a Portuguese artist/design researcher and developed further through the collaboration with the other two authors, one a Portuguese visual artist/researcher and the other a Turkish fashion designer/theorist. The investigation focuses on questions that expand the notion of place for artists and designers, filtered through the lenses of manual labourers in order to understand their physical, social, cultural and economic relationship with the environment. To create the process of interaction with the place and the people, a creative collaborative dynamic is developed between the authors with their range of artistic sensibilities and the local population. To adopt a holistic notion of sustainability and cultural identity a process of investigation is designated to: (1) analyse, test and interpret - through the dissemination of life stories, visual representation of the place and the creation of cork objects - the importance of culture related to the labour activity of a local natural resource that determines and structures the region; (2) to give public recognition to those involved, taking into account their sense of belonging to the place and in order to show the value of their sustainable labour activities related to local natural resources; (3) to contribute to the knowledge of the place and to its dynamism through an aesthetic approach to labour activities. With reference to fields of knowledge such as anthropology, the social arts and sustainable design, a practice-based research is conducted with collaborative and participatory design methods to create an open model of interaction which involves local people in the realization of the project. Outcomes of this research will be presented in the paper as a survey analysis with theoretical conclusions.

Transition Matters. Il ruolo del designer nella transizione sostenibile e circolare dei materiali polimerici

La ricerca indaga il ruolo del designer nella transizione sostenibile e circolare all’uso di materiali polimerici. Nel contesto contemporaneo la plastica è utilizzata in quasi ogni settore merceologico ma la sua futura applicazione è messa in forte discussione a causa dei visibili impatti ambientali del suo uso irresponsabile. Un passaggio netto dalla totale dipendenza alla liberazione dei polimeri è difficile; è necessario un periodo di transizione che permetta di coesistere responsabilmente con i polimeri in attesa di trovare dei validi sostituti. L’obiettivo della ricerca è lavorare su questo periodo ponendo il designer e le sue competenze come soggetti chiave del movimento. La tesi di ricerca propone un approccio per calare le pratiche del Transition Design nella progettazione di sistemi-prodotto, nutrendosi degli attributi anticipatori dell’Advanced Design e puntando agli obiettivi del Circular Design, lavorando a partire dalle merci più critiche nel contesto contemporaneo: quelle in polimero fossile non riciclabile. Contributo della tesi è la figura del Transition Matter Designer, un progettista di transizioni dei materiali che prevede metamorfosi di sistemi-prodotto nel tempo grazie alle sue competenze a diverse scale del progetto: forma l’utente agli atteggiamenti circolari e sostenibili, caratterizza i materiali per individuarne nuovi usi, seleziona i processi produttivi adatti a prevenire scarti e ne anticipa i cicli di vita nei prodotti. I Knitted Fasteners sono il risultato della simulazione del lavoro del Transition Matter Designer nel tessile: un sistema di elementi di fissaggio, personalizzabili dallo stilista e integrati negli abiti a maglia, che permettono di eliminare l’uso di fashion fasteners in plastica e metallo, elementi che rendono difficile il riciclo dei capi. Dalla sperimentazione è emerso il modello concettuale della Transindustrial Production: un lavoro di collaborazione fra Transition Matter Designer e creativo per dare identità ai materiali polimerici circolari attraverso l’ibridazione fra artigianato e industria, tipico del Made in Italy.