fashion phd thesis

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Research proposals - Phds in fashion design

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If for traditional fashion design as clothes making or as basics for the creation of fashion products the concept of good design is now acquired, knitwear is now facing its decisive change from hobby into project; the enhancement of craft (Micelli S. 2011) does not refer to any nostalgia for the past times, and even better in Italy it is a very fertile area to be innovated and experimented. The ability to innovate and promote new points of view in design processes does not arise only from a thorough understanding of specific areas, but also from a lifestyle open to diversity, that society has to accept and recognize (Micelli S . 2011). Today, the ability of designers to explore contexts in an original way, proposing ideas and results that are not just technical solutions of established problems, sees in creativity and in fashion design education the ability to solve problems through materials and their constant innovation for clothes, to experiment or to look at old problems in a different way with the aim of going beyond the usual “fashion” idea. This paper is written at the end of an educational experience in the Knit Design Lab at the School of Design of Politecnico di Milano, where Missoni, the most important Italian knitwear brand, together with Woolmark, the most influencing certification body at an international level for the promotion and enhancement of Merino wool, in collaboration with Knitlab, a digital platform for the learning of the traditional knitting techniques active in the School of Design at Politecnico di Milano, realized a project in which the knitting techniques have been the first tool for the creation, design and prototyping of a clothes collection for the spring-summer 2017, coherent with the brand identity of Missoni and with at least the 70% of merino wool as a condition dictated by Woolmark. The aim of the paper is to highlight the moments of convergence and differentiation regarding the methodologies and the design process into the different areas of design. In this way today we can talk about knitwear design: a specific field of Made in Italy completely changing: to become project, knitwear must produce garments and collections enhancing traditional techniques while expressing the spirit of time and in which the manual technique becomes a research tool and method to deal with all the aspects in their influence on the industrial production chain.

Nordes confererence, 2007

This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.

The Design Journal

The belief that practitioner knowledge is tacit and cannot be communicated through the traditional methods of academic writing and journal publication is a problem for the growing number of fashion researchers utilising practice-led methodologies. The main reason for this is that, until recently, the visibility of a discipline has been predominantly defined by academic publications in the field. One solution has been for researchers to adopt research methodology that utilises reflective practice to draw out practitioner knowledge and attempt to convert this knowledge to an explicit form. Alternatively, non-traditional research outputs are now considered equivalent to published research within areas such as art and design. However, a critical mapping of fashion research reveals that practice-led research in fashion is not yet adequately represented by either form of research outcome. This thesis proposes that continuing to focus on the differences between practice-led research and other fashion research, a dychotomic view of practitioner knowledge as either tacit or explicit, and an upward trend in process-driven methodology, are limiting the ability for practitioners to contribute to the continuing development of fashion as a discipline. The aim of this thesis is to develop a progressive approach to practice-led research methodology to enable practitioner knowledge of fashion to become more accessible, transferable and relevant to the emerging methodology of fashion as a material culture that connects two different ideas of the fashion system as either material or immaterial. A quantitative and qualitative mapping of fashion research, based on journal publications, non-traditional research outputs and an analysis of practice-led research exegeses, determines the current state of fashion as an emerging discipline. The mapping reveals that dominant methodologies for existing practice-led research are design methodologies. The results from this mapping inform an exploration of the potential for object or artefacts to encapsulate fashion knowledge through the method of object analysis as an object-based methodology used within other areas of fashion research. The results of this analysis enable the development of two models for practice-led fashion research. The first is a model of practitioner knowledge and theorises tacit knowledge as a hybrid space existing as a relationship between the different types of knowledge that exist in fashion practice. The second is a model of practitioner fashion research that incorporates existing design methodology but also responds to emerging fashion theory and methodology. Both models extend current understanding of fashion practice and contribute to developing the most effective strategy for communicating practitioner knowledge of fashion within the university environment.

Procedia Manufacturing , 2015

Journal of Fashion Marketing and Management , 2015

Purpose – Considering that the human body is undeniable a fashion space, the purpose of this paper is to highlight the importance of design and material choice in the relationship between clothing and accessories, namely, bags, for the fashion consumer. Design/methodology/approach – Initially the paper provides a historical framing of the use of materials in bags and its relation with clothing. Then, are described the characteristics of materials and how the human body relates to them, specifically how the sense of touch plays a decisive role in materials choice. Thus a natural fiber-based fabric as wool fabric is presented as a choice for some brands in the development of fashion accessories. Findings – It was found that there are an immense variety of materials that can be used in bags creation, and the use of them has changed over the years, influenced by social and economic conditions, fashion trends, and by technology evolutions in the production of fibers and composites. Taking in consideration that there is a long history of use of woven fabrics with natural fibers and a growing demand for sustainable and organic products, the use of wool natural fabrics in the production of bags were presented as a following road to the fashion industry. Originality/value – Since the relationship between materials used in apparel and fashion accessories is an area barely documented, this paper contributes to underline the possibility to exceed conventional design barriers and develop innovative and creative wool products pleasant for the human body as a fashion space. Citation. Ribeiro, L.S., Miguel, R.A.L., Pereira, M.M.R., Lucas, J.M. and Trindade, I.M.G. (2015), "Human body as fashion space: fashion accessories, design and woven fabrics", Journal of Fashion Marketing and Management, Vol. 19 No. 3, pp. 249-257.

Journal of Textile Design Research and Practice, 2020

FrancoAngeli, 2019

This paper assumes the fashion sector as a privileged field for the observation of several research and product development processes that have noteworthy similarities and potentials of application in many other design oriented sectors. The fashion field has, in fact, elaborated research procedures and planning instruments over time, which are rather unique (such as trend research practices) that are also reaching out of this specific sector. In addition to elaborating and developing finished products, fashion companies, and other bodies, such as private agencies or associations, perfect intermediate outputs of the research and product development procedures, which they implement by using both distinctive languages that are, by now, codified and planning potential scenarios – planning trends –– whose aim is not to supply homologous development instruments for collection development, but that of offering design opportunities meant to support the creativity of the companies, thereby offering multiple visual scenarios. The production of these “research products” – trend books – represents a field of noteworthy interest, not only for the fashion market, but for many other design-oriented sectors that are progressively elaborating similar practices. In these, what takes on a greater value is the planning research project, instead of the finished product, since this becomes the instrument of the company’s strategy, whose potential effects do not regard a simple collection or family of products, but entire generations of products. The objective of this paper is to offer an overall view of these practices as well as to demonstrate the progressive convergence of sectors that are apparently very distant from one another, as for example, fashion and electronics, towards the said practices.

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socialsciences.exeter.ac.uk

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BioResources, 2015

Global Spine Journal, 2016

Environmental Health Perspectives, 2005

herbertfelixinstitutet.se

Neuroscience, 1999

International Journal of Health Sciences (IJHS), 2022

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Downloadable Content

Convertible fashion: A sustainable design alternative for mindful consumption

• Masters Thesis
• Mendez, Brittney Rochelle
• Tung, Tsun Yin
• Lewis-Goldstein, Diane
• Family and Consumer Sciences
• California State University, Northridge
• Apparel Design and Merchandising
• Dissertations, Academic -- CSUN -- Family & Consumer Sciences.
• mindful consumption
• sustainable design alternative
• convertible fashion
• http://hdl.handle.net/20.500.12680/vd66w631v
• by Brittney Rochelle Mendez
• ii, 51 pages

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