Interactive tailor system

Interactive Tailor System is an online system designed for tailors. A system that enables tailors to keep the data of their customers. A profile of each customer will be created by the tailor. All necessary details of the clients are stored in the system and retrieved. The measurements of customers will be recorded and found easily when needed. The tailors will use a picture see the measurements of the customers. The tailor will need to click the leg in order to see how much it measures. Before using the system users need to register then they must login with their username and password in order to enter the system. The system is constituted of different components such login function, insertion of data in the database, extraction of data from the database, search facility, mail sending. The methodology chosen to develop this system is waterfall model approach. This method is simple to implement, the amount of resources needed are minimal and after each phase the output is obtained, therefore it has clear visibility

Stylistic Creativity in the Utilization of Management Tools

We analyze the role of management instruments in the development of collective activity and in the dynamics of organization, recurring to pragmatic and semiotic theories. In dualist representation-based theories (rationalism, cognitivism), instruments are seen as symbolic reflections of situations, which enable actors to translate their complex concrete activities into computable models. In interpretation-based theories (pragmatism, theory of activity, situated cognition), instruments are viewed as signs interpreted by actors to make sense of their collective activity, in an ongoing and situated manner. Instruments combine objective artefacts and interpretive schemes of utilization. They constrain interpretation and utilization, but do not completely determine them: they define genus (generic classes) of collective activity, but they leave space for individual or local interpretive schemes and stylistic creation in using them. A major part of organizational dynamics takes place in the permanent interplay between instrumental genus and styles. Whereas representation-based theories can be acceptable approximations in stable and reasonably simple organizational settings, interpretation-based theories make uncertain and complex situations more intelligible. They view emotions and creativity as a key part of the interpretive process, rather than as external biases of a rational modelling process. For future research, we wish to study how interpretation-based theories should impact managerial practices and improve, not only intelligibility, but also actionability of instruments and situations.Collective Activity; Genus; Instruments; Interpretation; Management Instruments; Performance Management; Pragmatism; Semiotics; Style

(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

Big Data, Small Credit: The Digital Revolution and Its Impact on Emerging Market Consumers

This research report sheds light on a new cadre of technology companies who are disrupting the credit scoring business in emerging markets. Using non-financial data -- such as social media activity and mobile phone usage patterns -- complex algorithms and big data analytics are forever changing the economics of how we identify, score, and underwrite credit to consumers who have been invisible to lenders until now

Interactive tailor system

Interactive Tailor System is an online system designed for tailors. A system that enables tailors to keep the data of their customers. A profile of each customer will be created by the tailor. All necessary details of the clients are stored in the system and retrieved. The measurements of customers will be recorded and found easily when needed. The tailors will use a picture see the measurements of the customers. The tailor will need to click the leg in order to see how much it measures. Before using the system users need to register then they must login with their username and password in order to enter the system. The system is constituted of different components such login function, insertion of data in the database, extraction of data from the database, search facility, mail sending. The methodology chosen to develop this system is waterfall model approach. This method is simple to implement, the amount of resources needed are minimal and after each phase the output is obtained, therefore it has clear visibility

Sustainability in design: now! Challenges and opportunities for design research, education and practice in the XXI century

Copyright @ 2010 Greenleaf PublicationsLeNS project funded by the Asia Link Programme, EuropeAid, European Commission

From Glass Architecture to Big Brother: Scenes from a Cultural History of Transparency

In this essay, I want to reposition the Big Brother phenomenon in the context of an earlier debate about domestic space which occurred during the emergence of architectural modernism in the first decades of the twentieth century. At issue then was the physical reconstruction of the home, particularly through the increasing use of glass as a design element. While glass architecture is even more prevalent in the present, its spatial impact—particularly in terms of its capacity to alter the relationship between the ‘inside’ and the ‘outside’—has now been matched or exceeded in many respects by the effects of electronic media. By tracing the parallel between the unsettling spatial effects produced by both glass construction and the electronic screen, I will sketch a cultural logic linking the modernist project of architectural transparency to the contemporary repositioning of the home as an interactive media centre

An aesthetic for sustainable interactions in product-service systems?

Copyright @ 2012 Greenleaf PublishingEco-efficient Product-Service System (PSS) innovations represent a promising approach to sustainability. However the application of this concept is still very limited because its implementation and diffusion is hindered by several barriers (cultural, corporate and regulative ones). The paper investigates the barriers that affect the attractiveness and acceptation of eco-efficient PSS alternatives, and opens the debate on the aesthetic of eco-efficient PSS, and the way in which aesthetic could enhance some specific inner qualities of this kinds of innovations. Integrating insights from semiotics, the paper outlines some first research hypothesis on how the aesthetic elements of an eco-efficient PSS could facilitate user attraction, acceptation and satisfaction