布製品の能動操作による布の知識表現と操作技能の自動獲得

研究種目：若手研究(A)研究期間：2014～2017課題番号：26700024研究代表者：山崎　公俊研究者番号：00521254Other2014～2017年度科学研究費助成事業（若手研究(A)）研究成果報告書　課題番号：26700024　研究代表者：山崎　公俊research repor

Becoming with Clothes : Activating wearer-worn engagements through design

Frequently associated with the superficial and the frivolous, fashion has been treated as a subject of lowly relevance in both practice and research. Not exclusive to fashion, this overvaluation of the superficial and the visual has deemed the relationships between individuals and designed artefacts as weak and unengaged. In order to shift this state of affairs, this research asks about paths towards more active engagements between wearer and worn. More specifically, it is interested in understanding how fashion designers can support this change through practice. In order to answer this question, the experiences between wearer and worn and the ways these two entities interact become a central matter of concern. The realm of experience has been marginalised in the considerations of fashion studies as they have privileged investigations on fashion as a system of signification. Through a literature review, this research confirms that the few considerations on the experience between wearer and worn are articulated at a theoretical level with little applications to practice. This doctoral research is situated between the fields of fashion, design and philosophy, and unfolds as two iterative experiments in fashion design, developed under a research through design approach. Within the experiments, the design process is exposed and its outcomes are investigated through the experiences of the participants. Against the lack of previously developed methods to investigate experience between individuals and their clothes, the research engages in crafting a methodology able to embrace this study subject. Named ‘wardrobe interventions’, this method inspired by Cultural Probes collects data longitudinally on long-term relationships via deployed kits containing a garment and a diary. In the project, the importance of the interaction between wearer and worn is made visible in the theoretical framework, as it prioritises experience and agency over culture and visuality. Here, the data collected is interpreted under the light of a revised phenomenological approach, strongly grounded on theories of material agency. The first experiment, Dress(v.), explores dress in an active form and asks about ways to enhance the wearer’s reflectiveness on wearing practices. The findings from this first experiment suggest care, wardrobe novelty and time as spaces to be explored further towards more engaged relationships. The second experiment, Wear \Wear, builds on these findings. It explores answers to the question of time as a space for design and proposes surprise as a catalyst to active engagements between people and clothes. The results reveal that open-endedness can be used as a tool to motivate stronger engagements and make visible the agency of clothes. The findings expose how knowledge on clothing is constructed through embodied experiences and mutual affects — or in other words, through becomings. Once open to such becomings, wearers are aware of clothing’s ability to act, and more engaged relationships may emerge. This doctoral dissertation expects to share with its readers an urgent need to make visible the agency of clothes. It contributes to previous fashion studies by broadening understanding of the ways humans and clothing interact and presents a methodology to support this endeavour. In the field of practice, the investigation suggests ways of entangling research and practice, highlighting the relevance of wearing as a matter of great concern to designers in the field of fashion

(Case Study)

The objective of this dissertation is to investigate and study the connection between the technological development found in the history of fashion clothing and design. A further objective is to consider the importance of anthropometry, ergonomics, volumetrics, geometry and body shape, and to demonstrate, through case study, avenues for adapting and incorporating flat patterning in the creative process of Fashion Design Teaching: “Amalgamated (Hybrid) modelling as a creative resource”. Every fashion designer needs to think about his personal creative process and how best to stimulate his own creativity. There are some methods that can promote creativity and these need to be made part of the designer’s daily routine in order to develop distinctive and innovative work. When building a collection, the fashion designer must adopt a methodological approach. Flat patterning reaches the heart of mathematics. It demands logical reasoning and an ability to integrate a number of disciplines. Consequently, it can give the impression of being a rigorous, complex practice, full of often incomprehensible rules, because it can be difficult to grasp its precise theory and practice. But this is an area of knowledge of great significance to students of fashion design while undergoing their academic training because the good professional must have at least a basic understanding of how their design will be put together as a result of flat patterning. In teaching, flat patterning is often set apart from the creative process and is combined with the later stage of execution. According to Mariano, “it is the process of flat patterning that defines the transformation of flat materials into three-dimensional shapes capable of adaptation to the human body. [...] It also determines whether the clothing can be reproduced”. Mariano (2011, no page) It is clear that developing a flat pattern is a very important step in the creation of a garment. Its function is not only to configure the garment but also to ensure it can be standardized and reproduced. However, when dealt with as a predominantly technical subject, its application can become divorced from the concept of creation because it appears to have no artistic content. By approaching flat patterning technique in a composite way, taking advantage of its two-pronged nature to incorporate it in the creative elements of the Fashion Design course, it can become a means of sparking the creative process which has made great names in high fashion in the past. Coelho (2008) argues that patterning should be understood as being more than a technique. He says that it loses the dynamic sense intrinsic to the concept of a method that is part of a larger process - all the research carried out by the designer – when flat patterning is either not fully understood or taught simply as a technique. Logical reasoning is vital when making flat patterns. But mastery of technique is also essential. Novaes (2008), extends Coelho’s reasoning by saying: “Other possible routes in processing a garment result from cross-referencing between standardization methods and production systems. [...] Configuring geometric patterns with three-dimensional modelling when developing a prototype is a further possible method of shaping a garment.”. (Novaes, 2011, p.93). A great example of composite patterning as a creative resource in the teaching of Fashion Design is the stylist Tomoko Nakamichi, who teaches at the famous “Bunka” Fashion School in Japan. She departs from the traditional patterning approach and, in effect, offers a hybrid technique which combines and enlarges the ranges of standard flat and three-dimensional modelling. It follows that educators should bear in mind that a study and understanding of the principles of human anatomy will instil a knowledge of how to evaluate the human profile, so contours can be followed or altered. Concepts of proportion, symmetry and volume (or volumetrics), as well as height and width measurements, are fundamental to producing a technical design and modelling pattern. This information needs to be included in the planning of a garment during graphic design. In conclusion, teaching flat patterning in a creative way, combining its different elements, can be a force to promote creativity, giving the student the opportunity to see a garment, or fashion product, in three dimensions. This modelling technique allows the fashion professional greater creative freedom thanks to immediate three-dimensional visual contact with the product. It also benefits the student who gains greater control over the creation of a garment in a liberating way that also facilitates improvements to the final results.Esta dissertação objectiva estudar e investigar a relação do desenvolvimento tecnológico velados na história da indumentária, moda e design, assim como antropometria, ergonomia volumetria, geometria, corpo e formas para fins, de buscar e exemplificar través de estudo de caso a possibilidade de incorporar e adequar a modelagem no processo criativo do ensino de design de moda “modelagem hibrida como recurso criativo”. Nesse contexto, todo criador precisa pensar sobre seu processo criativo na moda e como estimular sua própria criatividade. Existem algumas ferramentas que podem ser usadas para promover a criatividade, e estas devem ser incorporadas à rotina diária para que o designer possa desenvolver um trabalho diferenciado e inovador. O designer de moda deve estabelecer uma abordagem metodológica para desenvolver uma colecção. A modelagem por passar pelo cerne da matemática, esta requer raciocínio lógico e a capacidade de articular uma série de disciplinas dando a impressão de ser uma prática complexa, rigorosa e cheia de regras, muitas vezes incompreensível devido a uma certa dificuldade de assimilação do seu teor prático e exacto. Por conseguinte esta área do conhecimento se faz de grande importância na formação académica dos alunos de cursos de design de moda pois o bom profissional deve pelo menos deter o conhecimento básico do produto que se vai construir através da modelagem. A modelagem no ensino é frequentemente separada do processo criativo, sendo incorporada mais tarde na etapa do processo de execução. Segundo Mariano (2011), “a modelagem e o processo que determina a transformação dos materiais planos em formas tridimensionais adaptáveis ao corpo humano […] e também por determinar a reprodutibilidade do vestuário” […]. É certo que a elaboração da modelagem é um estágio muito importante, com uma função não apenas de configurar, mas também de garantir que a roupa possa ser reproduzida e padronizada. No entanto, tratando-a como um assunto predominantemente técnico, sua aplicação pode se tornar divorciada da concepção criativa, uma vez que a mesma parece ser desprovida de conteúdo artístico. Abordar e incorporar as técnicas de modelagem de uma forma hibrida e de maneira criativa no ensino do design de moda, através de suas técnicas ramificadas, desta forma a mesma pode se tornar uma ferramenta capaz de potencializar o processo criativo assim como ja no passado fazia grandes nomes da alta costura. Coelho (2008), explica que modelagem não deve ser entendida apenas como técnica porque, quando a modelagem sendo ela plana ou não é compreendida ou ensinada apenas como uma técnica, ela perde o sentido dinâmico amplo consagrado no conceito de um método que é parte de um processo maior, que é toda a pesquisa feita pelo o designer. O raciocínio lógico é essencial para realizar a modelagem plana. Mas o domínio da técnica também é essencial. Novaes, completa os pensamentos de Coelho nos dizendo que “outros caminhos possíveis no processamento de uma peça de roupa são o resultado de cruzamentos entre métodos de padronização e sistemas de produção […] já que a configuração de padrões geométricos com modelagem tridimensional no desenvolvimento de um protótipo é outro método possível para modelar peças de vestuário. Um grande exemplo de uma modelagem hibrida como recurso criativo no ensino de design de moda é a professora e designer da famosa escola de moda japonesa “Bunka” Tomoko Nakamichi, cujo oferece uma ruptura com a padronização da modelagem tradicional e oferece efectivamente uma técnica híbrida que mescla padrões recursos de modelagem plana e tridimensionais. Portanto, educadores não podem esquecer-se que com o estudo e a compreensão dos princípios da anatomia humana é possível transmitir ideias através do conhecimento de como avaliar o perfil, para que os contornos possam ser seguidos ou alterados, conceitos de proporção, simetria e volume (ou volumetrics), bem como medidas de altura e largura, são fundamentais para a realização do desenho técnico e padrão da modelagem e devem ser trazidos para o planejamento do item como informação durante o design gráfico. Desta forma então conclui-se que o ensino da modelagem de forma hibrida e criativa pode ser usada para promover a criatividade, proporcionando ao aluno a possibilidade de ver a roupa ou produto de moda em três dimensões. Pode-se dizer que essa técnica de modelagem dá maior liberdade criativa ao profissional da moda devido ao contacto visual tridimensional imediata do produto e que também beneficiará o aluno sob um maior controle sobre a criação da roupa de uma maneira incomum e que também facilitará os ajustes finais

The meanings of qipao as traditional dress: Chinese and Taiwanese perspectives

The development of the qipao as a representative, traditional Chinese symbol involves a series of complicated processes including the process of being modern and being Chinese. The researcher investigated how qipao is defined by and has meanings for young women from Chinese and Taiwanese cultures. The purposes of the study were (1) to explore how these women understand and interpret the qipao and (2) to investigate how cultural contexts play a role in the interpretation and use of qipao. Literature was reviewed to investigate how the qipao became representative Chinese dress and what were historical meanings of the qipao.;A sample of 14 international Chinese (P.R.C.) and Taiwanese female university students was selected (seven from each country with ages ranging from 24 to 30). All had studied in the U.S.A. less than three years. Open-ended, in-depth interviews were conducted, during which varied qipao photos were used as autodrivers and stimuli to help respondents talk about cultural meanings and define style criteria for qipao. Bourdieu\u27s practice theory served as the framework of analysis, incorporating semiological analysis to gain understanding of the object structure and subjective interpretation to explore the multi-layered meanings of qipao practices.;Paradigmatic and syntagmatic codes of qipao were established. The results also demonstrated the fluidity and instability of traditions. How knowledge of the qipao has been disseminated within cultures and how individuals personally learned about the qipao affected respondents\u27 definitions of traditional qipao and its situational usage. Taiwanese and Chinese responses had similarities in interpretations of cultural and ethnic meanings of qipao. Taiwanese were significantly different from Chinese in describing how the qipao is used as national dress; political conflicts between the two countries may be reflected in Taiwanese reluctance to wear traditional qipao. Western dress codes were an influential factor in assigning meanings to qipao. Analyses revealed that the qipao is a highly gendered and sexualized object that reflects global stereotypes about Asian, particularly Chinese, women who, in turn, are self-oriented to this stereotype

Evaluating an androgynous brand extension: the gender identity/ gendered brand relationship and influencing factors

Includes bibliographical referencesGender identification behaviour has altered drastically within the last decade. Consequently, there has been a noteworthy rise in the amount of androgynous individuals. Gender identity congruity theory posits that individuals display more favourable behavioural outcomes towards brands that possess similar images or identities to their own. Further, contemporary consumers express their identities via their brand choices. Thus, there is a strong implication that introducing an androgynous brand could prove to be a lucrative strategy for marketers. However, gendering brands as either masculine or feminine prevails as the most commonly employed strategy to differentiate a brand and appeal to target audiences. Introducing androgynous brands through a brand extension could prove to be less risky and costly than introducing such a brand as a novel, stand-alone offering. This study examined gender identity's potential influence on the evaluation of an androgynous brand extension. Further, it investigated the potential influence of three key factors on this central relationship: self-concept, product category and the gender of the parent brand. With regard to these moderators, it was posited that first, if the brand's image aligned with one's self-concept the evaluation of the androgynous brand extension would be more favourable. Distinction was made between actual and ideal self-concept. Second, a distinction could be made between functional and symbolic product categories with regards to the influence that gender identity exerted on brand extension evaluation. And third, that the gender of the parent brand would influence the evaluation of the androgynous brand extension. Subsequently, a 2 x 2 factorial design experiment was administered to a quota-controlled non-probability sample of Generation Y consumers. The findings demonstrated that gender identity influences the evaluation of an androgynous brand extension. Furthermore, self-concept moderated this relationship between gender identity and brand extension evaluation. The product category wherein the androgynous brand extension was implemented was evidenced to affect individuals' evaluation of the brand extension, with the one introduced in the symbolic product category receiving more favourable evaluations than the extension introduced in the functional category. The gender of the parent brand exerted no influence on brand extension evaluation, where androgynous brand extensions from both feminine and masculine parent brands were evaluated similarly. Self-concept also exerted an effect on brand extension evaluation, with ideal self-concept exerting a stronger influence than actual self-concept. Lastly, individuals were shown to prefer an androgynous brand to a masculine or feminine one. The principal inference resulting from this research is that marketers should strongly consider introducing an androgynous brand extension should they possess a feminine masculine brand within the clothing, deodorant, or similar products categories. Respondents evaluated the androgynous brand extension favourably across both assessed product categories and regardless of whether the brand extension was introduced from a masculine or feminine parent brand. This was observed for all gender identity segments. It is imperative that managers take gender identity and self-concept into account as these identity aspects exert noteworthy influences on individuals' consumption behaviours. However, managers should take note of the evidenced interaction between gender identity and self-concept. Where individuals perceive there to be a high level of congruence between their self-concept and the androgynous brand extension, individuals with high levels of masculinity should not be targeted as they displayed negative evaluations of the brand extension

State Regulated Relationships: Mothers\u27 Experiences of Partner Incarceration

The effects of incarceration on families have been studied in-depth, but little research evaluates the effects on women parenting children after the incarceration of their romantic partner. This research evaluates how mothers manage to keep their families intact throughout the duration of their partner’s incarceration. I approached this question using a geography theory of care developed by Sophie Bowlby and Linda McKie. This theory states that the quality of care is dependent on the space in which it is provided, the social expectations within the caring environment, and the amount of time required to provide or receive care. Using this theoretical framework, I investigated how these mothers manage to care for their incarcerated partners, children, and themselves throughout their partner’s incarceration. To answer this question, I conducted nine in-depth, qualitative interviews with women experiencing partner incarceration across the state of Montana. Findings suggest that these women provide care for their partners, children, and self through visiting and sharing phone calls with their incarcerated loved ones. However, they also face significant barriers to providing this care, such as prison regulations and the financial cost of maintaining contact with incarcerated people. While I expected women to navigate these barriers by utilizing resources within their communities, I actually found that these women receive little support from their communities, and instead develop their own strategies for navigating barriers to providing and receiving care. This research uncovers the common barriers mothers in Montana confront when attempting to provide care for their families during partner incarceration. Eliminating these barriers has the potential to encourage family unity and, according to prior research, reduce an incarcerated person’s risk of recidivism

Treasured Garments: Exploring Value in the Wardrobe

This thesis aimed to determine how garments become treasured: the nature of those garments, and the process by which they achieve and retain their status, viewed within the spectrum of ways of valuing clothing. By privileging the wearer’s view of garments this thesis reveals a depth of emotional attachment to clothing via its material and sensory experience that impact subsequent valuing. This thesis contributes to the importance of fashion studies, through exploring the multiple and overlapping reasons why we wear and keep garments. The methodology expands the focus of wardrobe studies by concentrating attention on single garments in relation to the wardrobe. Wardrobe interviews were combined with garment analysis to deeply investigate particular garments, then used to open up attitudes to the rest of the wardrobe. A sample of five women and five men aged between 21 – 44, living in close proximity within a London neighbourhood were recruited based on location. Acknowledging the small sample, this study aimed for depth of understanding rather than generalisability. The evidence was analysed thematically under the dominant themes of acquisition, materiality, emotion, narrative and value. The importance of attachment clothing in life transitions, and in preserving intergenerational family connections is identified, as is the role of materiality in emotional connections manifest in practices of wear, care, alteration and repair. Treasuring was found to be a process of increasing singularization understood in terms of uniqueness and irreplaceability. The findings were situated within a growing body of wardrobe studies and studies of special possessions, framed by theories of exchange and value. New categories of intergenerational clothing connections are put forward such as ‘requested’ and ‘taken’ in which the receiver is the active party in clothing movement. It also offers the male perspective on attachment clothing. This research recommends expanding the term ‘investment value’ to include elements of the personal economy and rejecting ideas of nostalgic or sentimental relations, to see treasured garments as symbolically dense. A dichotomy between worn and unworn attachment clothing was identified in the literature. In this study, the majority of the garments that were treasured were also worn, creating a dilemma between wearing and wearing out. ‘Conscious wearing’ is proposed to describe how the participants rationed the use of a garment in order to preserve its lifespan and extend their enjoyment of wearing. ‘Emotional comforting’ is suggested as an expansion of the ways in which clothes can provide comfort and be described as comfortable

Designing healthy aesthetics: exploring ‘lived experiences’ of women with Raynaud’s Syndrome to inform fashionable knitwear that support agency and wellbeing

This thesis reports on research that used knitted fashion and textile practice to explore the wellbeing of women living with a disability, specifically Raynaud’s Syndrome, contributing to the current discourse on re-addressing disability and fashion design. Raynaud’s is triggered by the cold or a drop in atmospheric temperature, high levels of anxiety or stress, causing the narrowing of the blood vessels in the extremities. Such an ‘attack’, causes numbness, pain, fatigue, dexterity, and mobility issues. Raynaud’s is usually managed by keeping warm using appropriate clothing, however, this research has identified a range of ‘design issues’ within existing clothing products. Some fail to mitigate the effects of cold and poor circulation effectively and others have limited appeal in terms of style, colour, pattern, and texture. The study investigated how the condition affects the women’s wellbeing in relation to clothing and fashion, in terms of self-presentation, social interaction and ‘feel good’ factor. The findings from this human-centred research informed the development of the Re-dress capsule collection of fashion knitwear garments and accessories, designed to meet the requirements of the participants, and support their agency. This thesis acknowledges the disability studies perspective that disability is multi-factorial, and should be addressed in terms of its biological, psychological, and social aspects. It further proposes that addressing the needs of people who are disabled, also requires an aesthetic dimension and explores the personal and external factors that shape women’s embodied aesthetic experiences. The ‘lived’ body is explored to better understand how participants’ bodies shaped their bodily aesthetic, sense of personal style and identity as they negotiate social norms through the lens of clothing and fashion. The human-centred research design unpacked the multi-dimensional aspects of this negotiation. To comprehend the participant’s lived experiences, it used qualitative methods, including in-depth, semi-structured interviews and wardrobe studies, informed by Interpretive Phenomenological Analysis (IPA). Additionally, a workshop/focus group wascarried out with ten female participants living with Raynaud’s Syndrome using co-design methods to design an ideal outfit that supported both their physical comfort and their aesthetic desires. These findings informed a sequence of designing and making activities to create several items of knitwear, that were assessed both aesthetically and technically. A process underpinned by my tacit and experiential knowledge as a fashion knitwear designer who lives with Raynaud’s. The research highlighted that embodied and external factors interlink to shape women’s lived experiences with Raynaud’s. Firstly, the subjective experience of living with Raynaud’s Syndrome is greatly misunderstood by society. Secondly, the participants showed that the condition shrinks women’s ability to participate in personal and public activities. Thirdly, women develop self-management strategies and DIY techniques in their clothing practice to support their physical and subjective wellbeing. Fourthly, ‘design issues’ within existing products fail to mitigate the effects of cold and poor circulation effectively. Finally, aesthetics is fundamental to enhance wearer’s pleasurable and inclusive experiences on a personal and public level

The Iowa Homemaker vol.33, no.4

An American Task, Dr. Paul Sharp, page 7 Pizza, Doris Jirsa, page 8 International Social Whirl, Ann Lindemeyer, page 9 Enchanting Paris, Else Nielsen, page 10 New Foods and Flavors, Dorothy Will, page 11 Costa Rican Friendships, Margaret Cole, page 12 A Debt Is Due, Marilyn Heu and Lillian Nakamota, page 13 Information Please, Rachel Bernau and Margaret Mattison, page 14 Overseas Jobs for YOU, Kay Scholten, page 15 Food for the Male, Pat Stiff, page 16 An Invitation to the U. N. Tea, Jane Hammerly, page 17 A.H.E.A. Ambassadors, Harriet Parsons, page 18 Nationally Speaking, Dorothy Will, page 19 What’s New, page 20 Trends, Gwen Owen, page 2