Fashion design

This study introduces the possibility of reattributing a group of woven figural silks depicting the Khamsa (Quintet of epic poetry) from Safavid Iran (1501-1722) to Mughal India (1526-1761). The group is comprised of eleven different designs in multiple fragments illustrating scenes from two eponymous love stories from Medieval Persian poetry: "Layla and Majnun," and "Khusrau and Shirin." Through close examination of this group of figural silks attributed to Iran, this study contemplates the possibility that some of these textiles were instead created by Safavid weavers working in the Mughal realm. Textile specialists are rarely mentioned in consideration of the groups of Iranian elites who migrated from the Safavid Court in the sixteenth century seeking Mughal patronage, despite documentation in the Akbarnama (1590-1595) of the presence of Iranian and Central Asian weavers in the royal weaving workshops. 1 A potential reattribution not only points out the significance of artisan immigrant populations in propagating certain techniques, but links these two cultures through a shared philosophy and identity represented by textiles and garments depicting these characters. Safavid weavers were known throughout the early modern Persianate realm for creating silks with detailed designs resembling paintings, often with human and animal figures in foliated landscapes, known as figural silks. These can be loosely categorized into two sub-genres: those depicting idealized scenes, and those depicting specific scenes from Persian literature such as the Khamsa, referenced hereafter in this study as narrative silks. This group includes a scene depicting Layla and Majnun, two Bedouin youth separated by their families, meeting in the desert wilderness after the young man has quitted society as a result of his love-madness [earning him the moniker 'Majnun,' the crazed one]. The second group illustrates the initial meeting of Khusrau and Shirin, a royal couple whose tale includes a love triangle with the sculptor/engineer Farhad. Although there is some evidence for figural silks in the Iranian realm prior to the Safavid period, the corpus of extant examples studied here dates approximately to the period between 1550 and 1650, all attributed to Safavid Iran, and often further connected by scholars with medieval Persian-language poet Nizami Ganjavi (d. 1209). However, looking closely at the figural scenes, it became evident that there were some discrepancies in the iconography with regard to manuscript paintings depicting the same narratives in Nizami's poetry. 2 The imagery in this group of silks, based on dating and other factors, correlates with paintings depicting the same scene. Although the relationship of painting and textile design is a larger

Fashion has long engaged nature as both a formal and material field, a reservoir of forms through which the discipline negotiates its relationship with matter and time. This contribution investigates the progressive transformation of this condition, tracing a shift from an initial conception of nature as a formal referent to be imitated, toward the operationalisation of biological principles and behavioural logics, until nature itself emerges no longer as a passive referent, but as an active co-agent within contemporary design processes. Through the analysis of selected fashion practices, the contribution traces a trajectory from digitally mediated forms of computational biomorphism to functional biomimesis, and toward post-anthropocentric forms of ontological design in which non-human agencies increasingly participate in the constitution of the project itself.. The concept of Sympoietic Assemblages serves as a critical lens through which these developments are interpreted. Drawing on Deleuze and Guattari's notion of assemblage and Donna Haraway's theory of sympoiesis, the contribution outlines the emergence of a relational ecology of design in which form, meaning, and agency emerge through processes of co-constitution.

Quantum learning is an emerging interdisciplinary paradigm that integrates insights from quantum theory, cognitive science, neuroscience, psychology, constructivism, and holistic education to explain learning as a dynamic, interconnected, nonlinear, and transformative process. Unlike traditional mechanistic models of learning that emphasize linear transmission and behavioral conditioning, quantum learning conceptualizes cognition as fluid, probabilistic, relational, and context-sensitive. This paper explores the philosophical foundations, theoretical principles, cognitive implications, pedagogical dimensions, and educational applications of quantum learning. It also examines the relationship between quantum learning and contemporary educational theories such as constructivism, connectivism, metacognition, embodied cognition, and quantum cognition. The study argues that quantum learning represents a shift from deterministic educational models toward complex adaptive learning systems that emphasize creativity, uncertainty, consciousness, and epistemic transformation.

Este trabajo forma parte de las distintas intervenciones desarrolladas en el marco de un proyecto de investigación educativa propuesto por el Departamento de Innovación Tecnológica de la Universidad Tecnológica Nacional, Facultad Regional Avellaneda, de la República Argentina, sobre “Gestión y transferencia del conocimiento en las Ciencias Básicas mediadas por tecnologías en carreras STEM”. Esta investigación tiene como propósito brindar información sobre algunas variables motivacionales que inciden en alumnos de carreras de Ingeniería al realizar el Curso de Preparación de Examen Final (Plan Beta) en modalidad blended learning. Estos cursos brindan una alternativa a aquellos estudiantes con dificultades para acreditar la instancia de evaluación final en algunas materias de los primeros años de la carrera. Tienen como propósito acompañar y motivar a los estudiantes a complementar esta instancia, propiciando una profundización e integración de los conceptos que fueron abordados en la...

This paper summarises the key stages of a research project on leather and its sustainable production. First, the topic is addressed in relation to the Made in Italy tanning industry, and then a philosophical reflection is provided on the material’s plural and metaphorical meanings. These meanings are explored through a series of collaborative projects with companies and new methods of co-creation with AI. Specifically, the paper describes a co-design project conducted within the Officina Vanvitelli research infrastructure, which aimed to develop new green manufacturing processes for tanning companies in the Campania region.
Officina Vanvitelli conducts theoretical and applied research, primarily focusing on the cultural and creative industries of Made in Italy and environmental sustainability. As a research infrastructure dedicated to innovation for ‘Made
in Italy’, establishing relationships with companies and the associations that represent them is essential. One of the most interesting institutional protocols in this regard is the Conscious Leather Design Academy case study. The Conscious Leather Design Academy addressed European issues relating to the Green Deal and the digital transition in the tanning sector. The aim was to innovate within tanning manufacturing processes by focusing experimentation on co-design practices in collaboration with AI and high-level industrial manufacturing processes. This intense knowledge exchange has fostered innovation and improved production quality, preparing new generations for an ever-changing market and reinforcing the international leadership of Italian tanneries. This illustrates the diversity of the project in terms of research processes and the network formed by the companies collaborating with young designers. This contribution illustrates the plurality of the project in terms of research processes and the network formed by companies collaborating with young designers. It also addresses methods of co-creation with AI in relation to leather, examining the synergistic interaction between theory and practice. The application of leather to contemporary fashion design is examined through conscious and circular exploration, as well as through the combination of production processes and digital software. Design research at companies and Officina Vanvitelli has revealed a new hybrid manufacturing process that acts on design methods for applying leather and sensory aesthetics to fashion and design products. The conclusions demonstrate the dialogue between AI and the tanning sector, showing that digital technologies can assist human creativity and open Made in Italy up to the most advanced scenarios.

The purpose of this interpretive study was to explore how women's participation in the sport of CrossFit sets a context for the development of their body images-including their thoughts and feelings about the body and their lived experiences of embodiment-as well as their perceptions of culturally constructed ideals of beauty and gender. Analyses were informed by feminist cultural studies. In-depth, face-to-face interviews were conducted with 16 women who regularly participate in CrossFit. Data were analyzed using constant comparison processes. Findings illuminate how women experienced the culture of a male-owned, co-ed, CrossFit gym and how their immersion and participation in that gym culture gave rise to varied bodily experiences and practices, including body/appearance ideals, bodily appraisals, appetites and diets, physical fitness ideologies, appearance management routines, perspectives on gender, and identity development. Participant narratives revealed diverse lived realities across accounts as well as some evidence of contradiction or ambivalence within individual accounts. Implications for professionals who work in the body image area (e.g., nutritionists, counselors/therapists, sports psychologists), for the apparel and merchandising industry, for the sport of CrossFit, and for future work in the area are discussed.

This article entitled “Rendo Bangku Craft of Koto Gadang West Sumatra on Fashion Products” aims to raise the potential of Koto Gadang’s rendo bangku patterns, as one of the excellent products of the Koto Gadang village community. Rendo bangku craft which was originally used to decorate the edges of women's shawls in Koto Gadang is now being innovated by placing Koto Gadang’s rendo (embroidery) on fashion products. The method used is experimental, by the means of exploration, design, manifestation, and evaluation. Exploration was carried out to find ideas or concepts related to the product of Koto Gadang local embroidery which was carried out using observation, literature study, and interviews. Designing is the step of an embodiment of ideas and concepts from exploration into the design of women’s wear, men’s wear, and accessories. Embodiment is the step to manifest the result of the pattern design of fashion products in a real form into working drawings, as well as into finished...

Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by...

Resumen
El presente artículo reflexivo analiza la paradoja de la fotografía análoga en el siglo XXI, centrando su atención en el fenómeno de su migración y exhibición en plataformas digitales como Instagram. El objetivo principal examina cómo la imagen química, caracterizada por su materialidad y el concepto de aura de Benjamin se redefine al convertirse en datos para el consumo algorítmico. A través de una metodología cualitativa-hermenéutica y bajo la perspectiva ecológica de medios, se triangulan conceptos ontológicos de la imagen, la post-fotografía de Fontcuberta y el análisis del impacto ambiental derivado del uso de sales de plata, desechos químicos, electrónicos en la Era del Antropoceno. A lo largo del artículo se cuestiona si la digitalización de lo análogo responde a una búsqueda de autenticidad estética o si constituye una nueva lógica de resistencia cultural frente a la inmediatez digital. Algunos de los resultados sugieren que Instagram ha suplantado espacios expositivos, democratizando la imagen, pero a costa de despojar al negativo de su materialidad.

Palabras Clave: fotografía, tecnología digital, redes sociales, ecología y estética.

Abstract
This reflective article analyzes the paradox of analog photography in the 21st century, focusing on the phenomenon of its migration and exhibition on digital platforms such as Instagram. The main objective examines how the chemical image, characterized by its materiality and Benjamin’s concept of aura is redefined upon being converted into data for algorithmic consumption. Through a qualitative-hermeneutic methodology and from the perspective of media ecology, it triangulates ontological concepts of the image, Fontcuberta’s post-photography, and the analysis of the environmental impact derived from the use of silver salts, chemical, and electronic waste in the Era of the Anthropocene. Throughout the article, it's questioned whether the digitalization of the analog responds to a search for aesthetic authenticity or if it constitutes a new logic of cultural resistance against digital immediacy. Some of the results suggest that Instagram has supplanted exhibition spaces, democratizing the image, but at the cost of stripping the negative of its materiality.

Keywords: photography, digital technology, social networks, ecology and aesthetics.

Resumo
O presente artigo reflexivo analisa a paradoxo da fotografia analógica no século XXI, centrando sua atenção no fenômeno de sua migração e exibição em plataformas digitais como o Instagram. O objetivo principal é examinar como a imagem química, caracterizada por sua materialidade e pelo conceito de aura de Benjamin, redefine-se ao converter-se em dados para o consumo algorítmico. Através de uma metodologia qualitativo-hermenêutica e sob a perspetiva da ecologia das Mídias, triangulam-se conceitos ontológicos da imagem, a pós-fotografia de Fontcuberta e a análise do impacto ambiental derivado do uso de sais de prata, resíduos químicos e eletrônicos na Era do Antropoceno. Ao longo do artigo, questiona-se se a digitalização do analógico responde a uma busca de autenticidade estética ou se constitui uma nova lógica de resistência cultural frente à imediatas digital. Alguns dos resultados sugerem que o Instagram suplantou espaços expositivos, democratizando a imagem, mas à custa de despojar o negativo de sua materialidade.

Palavras-Chave: fotografia, tecnologia digital, redes sociais, ecologia e estética.

Rugs play important roles in furnishing homes and offices. They add to the aesthetics and also warm up these places in case of cold weather. Apart from keeping the room warm, they could also be hung on the walls purely for aesthetic purposes. And whatsoever that is hung up on the wall for people to see, attracts lots of attention either by criticism or appreciation. In the past, uli symbolic motifs of the Igbo speaking area in Nigeria, were used to decorate the bodies of humans and walls of houses, but this practice is almost going moribund. These symbolic motifs are highly decorative and connote the Igbo world view. As such, this paper upholds that when they are transferred onto rugs as surface designs, they may be able to aid their sustainability in the world of interior decoration and designs. The research designs employed in this study are descriptive survey and studio exploration. It is a mixed method research. Qualitative analysis and some statistical tools of percentages and bar charts were used to analyze the data collected. The research instruments used in this study are questionnaire, photography and observations. One among the many findings of this study reveals that the Uli traditional designs, being designs of the past are suitable for decorating woven rugs and some other art works of the future by giving them indigenous identity. It summarily recommends that these decorative motifs should be utilized in art and designs quite often in order to aid their sustainability.

Pakistani designer clothes are celebrated worldwide for their elegance, craftsmanship, and cultural richness. Blending traditional techniques with modern aesthetics, these outfits offer a unique fashion experience that reflects both heritage and contemporary style. From bridal wear to casual luxury pret, Pakistani designer clothing has become a global trend, admired for its intricate embroidery, premium fabrics, and timeless appeal. This complete guide explores everything you need to know about Pakistani designer clothes, including styles, fabrics, trends, and buying tips.

Memory Holloway, moderator Recently, the Wall Street Journal reported on the new interest in fiber arts, with the claim that this interest has seen a revival in the hands of contemporary artists exploring bold new forms. "The emergence of fiber art," states Glenn Adamson, director of New York's Museum of Art and Design, "is not just the reappraisal of an historic textile movement, rather a much more broad-based interest." 1 The fiber artists on this roundtable addressed two topics related to this broad-based interest, one on formal experimentation, the other on their geographic placement as artists on the Atlantic coast, particularly in and around New Bedford and the links to the slave trade with Savannah. New Bedford received fugitives as part of the Underground Railroad, namely on whaling vessels run by northern abolitionists arriving from the South, as well as by overland routes. Port and sea have left traces on the works of these artists: in their observations of light on water, in the adaptation of West African weaving methods, in the form of waves in the weave itself, and in the risks taken in pushing new techniques to the limit as aspects of contact culture with the environment and populations around them.

Memory Holloway, moderator Recently, the Wall Street Journal reported on the new interest in fiber arts, with the claim that this interest has seen a revival in the hands of contemporary artists exploring bold new forms. "The emergence of fiber art," states Glenn Adamson, director of New York's Museum of Art and Design, "is not just the reappraisal of an historic textile movement, rather a much more broad-based interest." 1 The fiber artists on this roundtable addressed two topics related to this broad-based interest, one on formal experimentation, the other on their geographic placement as artists on the Atlantic coast, particularly in and around New Bedford and the links to the slave trade with Savannah. New Bedford received fugitives as part of the Underground Railroad, namely on whaling vessels run by northern abolitionists arriving from the South, as well as by overland routes. Port and sea have left traces on the works of these artists: in their observations of light on water, in the adaptation of West African weaving methods, in the form of waves in the weave itself, and in the risks taken in pushing new techniques to the limit as aspects of contact culture with the environment and populations around them.

El presente trabajo examina la intersección y articulación entre artesanía, arte
y diseño, centrando el análisis en la exposición Territorio Híbrido de Cristián Mohaded,
presentada en el Museo Nacional de Arte Decorativo del 12 de noviembre de 2021 al 6 de
marzo de 2022. La reflexión se apoya en una visita directa a la muestra, complementada
con paratextos de la gacetilla del museo, fotografías y otros materiales web, incluidos artículos
de arquitectura y diseño, y medios de comunicación.
Territorio Híbrido, curada por Wustavo Quiroga, incorporó como parte de la misma producciones
de artesanos. A partir de allí, se analizan categorías complejas como la de artista,
diseñador, y artesano, destacando la fluidez de las mismas y las tensiones entre legitimación
y valoración. Se hace foco en la instalación principal, Campo de Torres, que consiste
en columnas tejidas en cestería con simbol (Pennisetum purpureum), planteando una experiencia
inmersiva en los paisajes del norte argentino.
A partir del caso estudiado, se focaliza en dos aspectos clave. En primer lugar, el papel del
museo como dispositivo legitimador y las desigualdades en el campo del arte, y en segundo
lugar una crítica a la mirada romantizada de la otredad. Este estudio busca aportar a
una comprensión más profunda acerca de las complejidades y desigualdades de la obra de
arte contemporáneo.

Dervish Sound Dress [Derviška zvučna odora] je tjelesni instrument -nosivi tehnološki uređaj; odjevni predmet inspirisan duhovnom praksom vrtećih derviša u Turskoj. Njeno muzičko zvučanje uzrokovano je aktiviranjem haptičkog vibracijskog odgovora i pokretima izvođača koji je nosi.

T his research was initially triggered by the changing social organisation of front row guests at the runways of international fashion week events, where established seating plans were rewritten in order to accommodate selected fashion bloggers. This visible reordering of fashion's former hierarchies of influence provokes many questions around the role of fashion commentators and draws attention to deeper changes to cultural mediation, modes of aesthetic discernment and tastemaking activities undertaken through fashion communication practices. The thesis investigates the concept of fashion taste-making through an in-depth examination of fashion communication in contemporary networked conditions. It examines the activities of selected fashion commentators to gain an understanding of the unseen social and relational dynamics of fashion that induce change and mobilise taste. In addition, the research considers how taste-making actions are applied and qualified in everyday fashion behaviour, as a distinct yet interconnected part of the fashion taste-making process. The exploration of this topic uses a number of specific questions to drive the research: how do notions of fashionable taste evolve from the personal preferences of fashion commentators to influence everyday fashion behaviour? Further, how does taste move and evolve through communication practices? Though what processes, structures and concepts is its transformation made evident? The research utilises a combination of methodological approaches, including comparative case studies, visual mapping techniques, critical discourse analysis and interviews. It is a socio-cultural investigation that is underpinned by Michel Foucault's theories of discourse, Antoine Hennion's theory of the Pragmatics of Taste and Bruno Latour's Actor-Network Theory that propose alternative perspectives on social organisation and interaction. The findings provide a greater understanding of the topic through the development of new definitions, and a research-based apparatus that allows contemporary fashion tastemaking to be more clearly observed and articulated.

This paper presents a practice-based study that reimagines the traditional dress of the Apatani tribe from Ziro Valley, Arunachal Pradesh, into a versatile, trans-seasonal capsule wardrobe, for niche cultural tourism markets. Drawing inspiration from the community's original zero-waste practices the study advocates a revival of zero-waste pattern making within contemporary context. The objectives of this paper are: (1) to revive and apply Zero-waste pattern making practices from Apatani cultural traditions in contemporary context and (2) to create a commercially viable collection that balances cultural symbolism and modern usability Traditional Apatani clothing practices are increasingly under threat as modernization, climate change, global fashion trends, and shifting lifestyles reshape daily life, creating an urgent need for adaptive heritage-based solutions. This study employed an ethnographic approach in Ziro Valley, home to the Apatani tribe. Data was collected through focus group discussions, interviews, surveys, photo-ethnography, and a market study to understand traditional attire and its relevance for the younger generation. The designs are centred on reimagining traditional garments through adaptations in silhouette, fit, pattern, and colour palette, paired with complementary regional handloom textiles. Developed as a compact, season-neutral capsule wardrobe using zero-waste pattern-making techniques, the collection aligns with sustainability principles. Both manual and AI was integrated into the design workflow. Prototypes were developed manually in muslin to visualise the silhouette and fit while AI-tools such as "the fabricants, sketch-to-image generation and virtual model photography" were used to visualise variations in colour schemes, and motif placements prior to physical sampling, thereby optimising time, resources, and creative experimentation. This research demonstrates how traditional-inspired fashion, sustainable design practices, and digital tools can work together to both preserve cultural heritage and appeal to modern consumers, while also supporting several Sustainable Development Goals (SDGs). It offers a replicable model for other indigenous communities seeking to revitalise traditional dress within modern lifestyles and global fashion markets.

La creatividad siempre se ha atribuido al ser humano como una cierta clase de cualidad innata; sin embargo, aún no existe consenso general sobre lo que este término significa realmente; en este sentido, nada impediría que pueda ser considerada una atribución contextualista. De otro lado, el estado actual del desarrollo tecnológico ha dado lugar a diversos cuestionamientos en torno a la posibilidad de que un sistema pueda ser creativo; por esto, la creciente intersección entre el diseño y la inteligencia artificial implicará múltiples desafíos legales que la propiedad intelectual deberá abordar.

Beyond its material use, clothing can have powerful emotional effects such as easing grief from personal loss or serving as a memory recall aid for individuals with dementia. It was during my graduate program that I became interested in exploring the idea that clothing can be powerful beyond its aesthetic. Peter Stallybrass's essay Worn Worlds: Clothes, Mourning and the Life of Things highlighting clothing's ability to evoke memories and emotions was influential in setting me on my path to research clothing's connection to memories. Whether it was embodied identity, grief, dementia, mourning rituals, or collective mourning, I was looking at the relationships rooted in the clothes. While there has not been widespread research related to clothing and dementia, Julia Twigg and Lou Taylor have devoted specific attention to understanding the impact of clothing to identity for those with dementia, specifically embodied identity, and memories. I found their work to be both significant and inspiring.

Beyond its material use, clothing can have powerful emotional effects such as easing grief from personal loss or serving as a memory recall aid for individuals with dementia. It was during my graduate program that I became interested in exploring the idea that clothing can be powerful beyond its aesthetic. Peter Stallybrass's essay Worn Worlds: Clothes, Mourning and the Life of Things highlighting clothing's ability to evoke memories and emotions was influential in setting me on my path to research clothing's connection to memories. Whether it was embodied identity, grief, dementia, mourning rituals, or collective mourning, I was looking at the relationships rooted in the clothes. While there has not been widespread research related to clothing and dementia, Julia Twigg and Lou Taylor have devoted specific attention to understanding the impact of clothing to identity for those with dementia, specifically embodied identity, and memories. I found their work to be both significant and inspiring.

Purpose: The study sought to investigate Knowledge, attitudes and practices of tailors towards the business of Covid masks and protective gears in Ghana. A critical Literature review. Methodology: This study adopted a desktop methodology. This study used secondary data from which include review of existing literature from already published studies and reports that was easily accessed through online journals and libraries. Findings: The study findings demonstrate a high level of awareness of COVID-19 among the tailors and general civilians who frequently updated themselves on the pandemic through several information channels. The pandemic disease, was broadcasted daily through all media, including social media and mainstream media (such as public television channels and radio). The study showed that the tailors also had heard about the need for more masks primarily through national TV channels which represented the primary source of information for remote communities in particular, a...

The purpose of this study was to investigate the textile work skills possessed by graduates of fashion design and textiles from the technical universities in Ghana. A cross-sectional survey design was employed to carry out this study. The target population for the study were graduates of the fashion design and textiles programme from the technical universities in Ghana, and lecturers teaching the textile component of the fashion design and textile programme. Snowball and purposive sampling techniques were used in this study. The sample size for the study was 189 (185 fashion graduates & 4 textiles lecturers). The instruments used for data collection were a questionnaire and an interview guide. The study found that the fashion design and textiles programme in Ghana technical universities did not have enough textiles component to enable graduates have adequate industrial work skills required in the textiles industry. The study also revealed that the textile work skills graduates received from technical universities were not adequate to enable them to satisfy the job requirements in the textile industries. Based on the results, the study recommended that the textile component of fashion design and textiles programme should be reformed to contain adequate textile content since textiles was one of the major areas of specialization. The study also recommended that teaching and learning equipment should be provided to fashion design and textiles departments in the technical universities to enable students acquire adequate skills needed in the textiles industry.

Recent advances in wearable electronics, smart textiles, and biomedical sensors have enabled the development of smart clothing designed to support individuals with disabilities. These garments integrate electronic components, sensors, and communication technologies within textile structures to provide functions such as health monitoring, rehabilitation, and daily assistance. This study analyzes the classification, design principles, and manufacturing techniques of smart clothing for people with special needs in developed countries. It reviews key technologies including conductive fibers, biosensors, wearable sensors, and wireless communication systems, and examines practical applications in healthcare monitoring, rehabilitation, and assistive technologies. The findings demonstrate that smart garments significantly contribute to improving independence, mobility, and quality of life for individuals with disabilities. Furthermore, the integration of textile engineering, electronics, and artificial intelligence is expected to expand future applications of smart clothing in the healthcare and rehabilitation sectors.

Este  artículo  analiza  la  apariencia  de  diversas  mujeres  trabajadoras  en  la  Argentina a lo largo del siglo XX. Se propone un enfoque que, desde los estudios visuales, los estudios de moda y la historia de las mujeres, pone el acento en cómo se vestían, peinaban y maquillaban distintos grupos femeninos que se incorporaron al mercado laboral entre 1920 y 1970. Examinar la apariencia de obreras, empleadas domésticas, vendedoras, secretarias y  enfermeras  constituye  una  vía  de  acceso  privilegiada  a  las  subjetividades  que  estas  mujeres desplegaron al insertarse en ese nuevo mundo que implicaba el trabajo remunerado fuera  del  entorno  doméstico.  Buscamos  así  complejizar  las  lecturas  tradicionales  elaboradas desde la historia social del trabajo y la historia de las mujeres, desplazando el foco hacia las formas en que las trabajadoras se vestían y se mostraban. El análisis de imágenes y testimonios orales – obtenidos a partir de entrevistas con distintas trabajadoras –, centrado en sus prácticas de vestimenta y adorno, permite captar instancias de agencia femenina que no  siempre  respondieron  a  los  patrones  de  dominación  heteropatriarcal  impuestos  sobre  sus cuerpos. Asimismo, atender a estas dimensiones contribuye a comprender con mayor profundidad lo que el ingreso al ámbito laboral, la posibilidad – o la necesidad – de vestirse para salir al espacio público y el acceso al consumo pudieron haber significado para muchas de ellas como instancias inéditas para moverse y ser en el mundo.

This study aims to assess the aesthetics of upcycling products made by students of the Vocational School of Fashion Design. The assessment is based on Djelantik's aesthetic theory, which includes aspects of form/appearance and appearance/presentation. The research methodology used in this study is quantitative with a pre-experimental one-shot case study design, involving 5 expert panelists who assessed 5 tote bag products with additional decoration using the embedding techniques. The results showed that the form/appearance aspect with the elements and principles of design obtained a score of 91.75%, which is included in the very good category. The appearance/presentation aspect which includes skills and facilities or media scored 96.3%, also included in the very good category. Overall, the aesthetics of additional decoration with sticking techniques on upcycling products received an average score of 94.25%, including in the very good category. According to the expert panelists, product 3 had the best results of adding decoration. In conclusion, the aesthetic assessment of additional decoration on upcycling products made by students of Vocational School of Fashion Design is very good.

This study aims to design multifunctional clothing based on sustainable fashion, specifically intended for career women, with consideration of long-term functionality, flexibility, and the ability to express self-identity. The background of this research is rooted in the need for career women to have clothing that is not only practical and aesthetically pleasing but also environmentally friendly and capable of representing personal character. A quantitative method was used, involving five panelists consisting of designers, academics, and professional women as respondents. The researcher developed four sets of multifunctional black clothing designs: (1) a sleeveless blazer with long pants, (2) a detachable-sleeve blazer with waist accents, (3) a blazer with ruffles on the collar and cuffs, and (4) pants that can be converted into a skirt. Evaluations were conducted based on four main aspects: quality dimension (comfort, material strength, construction), design principles (form harmony, aesthetics, function), sustainability (eco-friendly materials, durability, maintenance), and self-identity (style alignment with user personality). The analysis results show that the second design received the highest overall score. The average score across all four designs was 89.6%, with sustainability and design principles emerging as the most prominent aspects. In conclusion, multifunctional clothing based on sustainable fashion proves to be a suitable solution for modern career women, fulfilling the needs for efficiency, style, and deep self-expression, while also supporting sustainable fashion practices.

Resumen. Los últimos años del siglo XXI han sido sobresalientes para los estudios sobre la Historia de la moda y de la indumentaria. Han transcurrido diecisiete años desde que se celebró el primer congreso internacional en este campo: Vestir a la española: prestigio y vigencia del atuendo español en las cortes europeas (siglos XVI y XVII)1. Aquel encuentro estuvo dirigido por José Luis Colomer y Amalia Descalzo y en él se reunió a una treintena de especialistas para presentar la influencia que la moda española ejerció dentro y fuera de nuestras fronteras. Más recientemente ha tenido lugar el congreso internacional Vestir a la francesa o a la española. La moda del siglo XVIII en España, dirigido por Amalia Descalzo, Saga Esedín y Sandra Antúnez, y celebrado en el Museo del Traje y el Museo Nacional del Prado del 18 al 20 de septiembre de 20242. Este encuentro científico mostró una panorámica completa de la moda en la Ilustración, incluyendo el papel que jugó en la sociedad, el arte, la economía y la industria del periodo comprendido entre 1700 y 1800. Con ocasión de este evento, cerca de cincuenta especialistas de distintos museos, universidades y centros de investigación de prestigio internacional se dieron cita para debatir, exponer y examinar los distintos campos que abarcó la moda y sus diversas ramificaciones a lo largo de la centuria dieciochesca. El congreso partía de la amplitud y variedad de interpretaciones de los recientes estudios de indumentaria histórica. Anuario del Departamento de Historia y Teoría del Arte, vol. 37, (2025), pp. 19-20.

Esta dissertação tem como objetivo estudar a forma como o jornalismo aborda um dos temas que carateriza a sociedade atual: a moda. Desde que surgiu, a moda alterou a forma como vemos e vivemos a nossa sociedade. Com um papel sociológico e comunicativo que, muitas vezes não é perceptível ou reconhecido, a moda é parte da economia, de estilos de vida e da forma como nos relacionamos em várias situações. A moda funciona como um processo comunicativo, revelando sem palavra, emoções, estados de espírito e posições sociais. Um processo tão multifacetado como este mereceu atenção por parte dos media. Durante o desenvolvimento da imprensa como indústria, surgiram formas diferentes de conceber o jornalismo. Nesta dissertação, são analisados e descritos conceitos como a produção noticiosa, o acontecimento, os valores-notícia e os jornalismos especializados. Atualmente, o público é cada vez mais seletivo e pretende a informação da sua preferência, com os assuntos que lhe despertam maior interesse. O jornalismo especializado surgiu como forma de responder a essa necessidade e como um novo modelo de negócio lucrativo para os media. O tratamento que os media dão, de forma exclusiva e especializada, aos temas que envolvem a moda tem como nome jornalismo de moda. Várias são as publicações completamente dedicadas ao tema, com uma linha editorial muito própria, assim como o discurso. A linguagem, a importância da imagem e um caráter publicitário vincado distinguem o jornalismo de moda do jornalismo generalista, de desporto, de viagens, etc. O jornalismo de moda contitui-se como uma forma de infoentretenimento que agrada ao seu público-alvo. Para poder analisar estas diferenças e perceber a forma como meios generalistas e especializados falam sobre moda, é feita uma análise de conteúdo de três meios que cobriram o ModaLisboa Trust, o maior certame do género em Portugal. Os resultados obtidos após esta análise são conclusivos: um meio generalista não consegue fazer o mesmo nível de cobertura de um meio especializado, já que o nível de atenção e de enquadramento é diferente, assim como o tipo de linguagem. Mas um suplemento informativo, como o que é analisado nesta dissertação, pode. Conclui-se que o tratamento dado por esse suplemento tem uma maior riqueza textual, constituíndo-se, assim, como concorrências às publicações inteiramente dedicadas à moda.

3 A moda e o design de interiores são áreas que herdaram estigmas femininos por conta da construção histórico-social em torno da vida doméstica e atividades manuais (têxteis e decorativas) às quais as mulheres foram submetidas. Observa-se que os ofícios contemporâneos dentro dessas áreas costumam ser igualmente gendrados e racializados. O objetivo desta atividade foi discutir sobre as relações de trabalho nestes dois campos, utilizando a interseccionalidade como abordagem. Adota-se como ponto de partida, a observação de que o trabalho de criação nessas 1 Doutoranda no Programa de Pós-Graduação em Design FAU-USP. Designer e pesquisadora dos temas: história do design de interiores, cultura material e estudos de gênero. Mestra em Artes Visuais pela Escola de Belas Artes da UFBA (2019), especialista em Metodologia e Docência do Ensino Superior (2018) e designer de Interiores graduada pela Escola de Belas Artes/ UFBA (2015). Integrante do Lab 20 -Laboratório da Arquitetura e do Urbanismo do século XX da FAU UFBA, do grupo de pesquisa "Arte & Política" vinculado ao PPGAV -UFBA, grupo de estudos em Cultura Material e grupo de pesquisa Modos de morar e domesticidades -FAU USP. 2 Mestranda em Têxtil e Moda pela Escola de Artes, Ciências e Humanidades da USP. Graduada em Desenho Industrial com habilitação em Programação Visual pela Faculdade de Artes Arquitetura e Comunicação -UNESP (2002). Seus principais temas de interesse são: upcycling de resíduos têxteis pós-consumo, estudos de gênero, mundo do trabalho e educação popular. Desenvolve um trabalho de upcycling de jeans e alfaiataria pós-consumo que pode ser visto em hidaka-upcycling.com.br. Tem 20 anos de experiência como designer e diretora de arte.

El libro incluye todas las explicaciones para aprender a encontrar la clasificación arancelaria a los productos textiles tales como fibras, hilados y tejidos de trama y urdimbre, así como de los géneros de punto, no solamente en la Sección XI de la Nomenclatura, sino también en otros capítulos donde son susceptibles de estar clasificados, como por ejemplo, el 39, 40, 68 y 70.

Además de las técnicas de clasificación específicas para cada clase de productos, sustentadas en el análisis de las disposiciones que inciden en ellas, tales como las Notas Legales, textos de partida y Notas Explicativas, el libro está enriquecido con fotografías e ilustraciones que refuerzan gráficamente los conceptos estudiados y analizados desde el punto de vista merceológico.

Incluye también cuadros sinópticos y tablas de clasificación, para facilitar las tareas diarias. También han sido incluidos casos prácticos desarrollados detalladamente, y más de 65 reactivos de evaluación para que el lector compruebe que lo estudiado, ha sido comprendido y aprendido.

El libro ha sido estructurado y desarrollado para servir a usuarios de habla hispana sin importar el país en que se encuentren.

No está permitida la reproducción total o parcial de esta obra en ninguna forma, ni la recopilación en un sistema informático, ni la transmisión en cualquier forma o por cualquier medio, por registro o por otros métodos, ni la importación o exportación o reventa, sin el previo permiso por escrito del editor.

Através das memórias das professoras Dra. Maria de Fátima Mattos (CUML) e Dra. Mara Rúbia Sant’Anna (UDESC), a entrevista conta a história do Fórum das Escolas de Moda Dorotéia Baduy Pires e a criação do Grupo de Trabalho “Educação: teoria e prática em Moda”, ações que ocorrem durante a programação do Colóquio de Moda. O objetivo é documentar o papel do Fórum e do GT frente às transformações nacionais ocorridas nas diretrizes de formação dos cursos superiores de moda e identificar as potencialidades de ambos para mudanças curriculares emergentes, acompanhando as problematizações apresentadas nas pesquisas durante a realização do 1º Encontro de GTs, que se referem principalmente à inclusão das diversidades e o uso de novas tecnologias no ensino.

The 21st century has brought about rapid transformations in the educational landscape, reshaping traditional notions of teaching, learning, and pedagogy. Globalization, technological innovation, socioeconomic change, and the shift toward knowledgebased economies demand a rethinking of how education is delivered and experienced. This paper explores the multifaceted opportunities and challenges that arise as education adapts to the complexities of the 21st century, focusing on the evolving roles of teachers and learners, the emergence of innovative pedagogical frameworks, and the implications of digitalization and globalization on educational practices. It discusses how digitalization, learner diversity, and global interconnectedness have reshaped educational paradigms. Innovative pedagogies such as blended learning, flipped classrooms, gamification, and collaborative learning models have redefined classroom dynamics and student engagement (Prensky, 2010; Anderson & Krathwohl, 2001). While these approaches enhance learner autonomy and creativity, challenges like the digital divide, lack of teacher preparedness, and equity concerns persist (UNESCO, 2020). The paper concludes that effective adaptation requires systemic change, inclusive approaches, and a human-centered vision of learning that harmonizes technology with values, creativity, and critical consciousness.

Released during the heyday of the costume drama, La princesa de Éboli (That Lady) (Young, 1955) is an Anglo-Spanish co-production about Ana de Mendoza, Princess of Éboli (1540–92), a prominent figure at Philip II’s court who was accused of treason. Based on Kate O’Brien’s novel, the film adaptation was eventually made into two different films for Spanish- and English-speaking audiences owing to the restrictions of Spanish censorship. Modifications to the script, film-edit and ending of the film offered a reversed interpretation of the fate of the protagonist in the Spanish version. Focusing on the costumes of the Princess of Éboli (played by Olivia de Havilland), we explore the shifting meanings that are brought to bear between the Spanish and the English versions. In contrast to costume films of nationalistic glorification in which the heroine sacrifices her personal desires for the more noble cause of patriotic ambitions, the English version disturbed official views of the past by...

As we all know, the relationship between fashion and design is very delicate. These two concepts have a lot in common in terms of group, timeliness and commerciality. This paper discusses the issue of fashion culture and fashion design. Fashion design has become the frontier carrier of fashion culture; fashion culture and fashion design also influence each other, fashion culture promotes the orientation of fashion design style.

The first part of Hirohiko Araki’s manga, JoJo’s Bizarre Adventure, ‘Phantom Blood’, is set in England from 1868 to 1889. In the work, the word ‘gentleman’ is used as a key term to understand the main characters’ personality. In this study, we examined the first part of
the work and the second part ‘Battle Tendency’ which took place in New York City in 1938 to analyse the role of the concept of ‘gentleman’ in both Part 1 and Part 2, comparing it with other related concepts. As a result, in Part 1 of JoJo’s Bizarre Adventure, the concept of the ‘gentleman’ was a concept that contributes to defining the work’s character. It implied that the concept of the ‘gentleman’ was an important tool for understanding the characteristics not explicitly described in the characters’ depictions.

| In a rapidly evolving landscape, fashion, through the hybridization of technology and biomechanical integration, emerges as a preeminent investigative medium, capable of questioning the understanding of what it means to be human in the postdigital era, investigating the ethical and cultural implications of this development. Thanks to advances in the design of smart materials and wearable technologies, fashion today, and even more so tomorrow, promises unique pathways for human enhancement and self-expression that transcend physical limitations, creating a context in which technology increasingly configures itself as a defining element of identity. Following the thought of transhumanist theorists, this ongoing study explores the potential of fashion, in association with wearable technologies, as a medium to augment and extend the human body, establishing a hybrid dimension where digital and biomechanical elements become integral to both personal and collective aesthetics. Through the analysis of contemporary case studies and pioneering experiments that respect the boundaries of the cyborg essence, as defined by Donna Haraway, who urges us to consider the cyborg as an icon of human-machine hybridization, this research focuses on emerging aesthetics that emphasize the application of transhumanist principles.
From cyberpunk motifs, embodying the fusion of human and technological, to synthetic-organic constructs, we witness a redefinition of the complex interplay between natural and artificial elements, compelling us to examine whether and how these aesthetics might represent a new vision of identity and corporeality.
This "beyond human" approach increasingly positions fashion as a privileged investigative tool capable of questioning our understanding of what it means to be human in the post-digital era. The ethical and cultural implications of these developments, as highlighted by Stiegler in his concept of pharmakon-an ambivalent symbol of both cure and poison that underscores both potential and risk-are profound.
By integrating fashion with wearable devices and biomechanical technologies, this study critically engages with themes of identity construction, inclusivity, and sustainability, probing how the fusion of natural and artificial within fashion influences our perceptions of identity and potentially redefines inclusivity in a world where technologically mediated appearances might either diminish social divides or, conversely, risk excluding those who cannot access such advancements.

This research advocates for a radical transformation of fashion design education, anchored in the post-humanist and technoetic ethos, challenging the prevailing human-centric design paradigm. It calls for a transdisciplinary approach that transcends traditional disciplinary silos, promoting a holistic and inclusive discourse. By weaving technology, psychology, sociology, and environmental sciences into the educational fabric, it emphasizes the imperative of collaborative and interdisciplinary learning. This methodology fosters a post-human design perspective, advocating for sustainable and inclusive practices, thereby reimagining fashion's role in a technologically sophisticated and diverse socio-cultural milieu. Concurrently, this paper delves into the professional landscape that fashion designers navigate, highlighting the essential competencies for emergent designers. It draws on expertise from educators, critics, and designers to dissect garment creation, the crafting of market-ready collections, and the transition to digital fashion design. It contrasts historical and sociological know-how with technical and artistic dexterity, contemplates the digital shift's sustainability implications, and juxtaposes the creative processes of the analogue and digital realms. This inquiry aspires to serve as a compass for fashion education stakeholders, steering them towards innovative domains of knowledge and praxis.

visual culture yet resonating globally. This exploratory study constitutes an early step toward decolonizing African design pedagogies by elevating Ghanaian standpoints and creative-educational priorities to enrich conceptual communication functionality. Wider survey and comparative research can further generalize and contextualize findings toward this long-term goal.

Purpose: The fashion scene in Ghana is a dynamic fabric knit together with creative designs. We explore the inspirations and creative processes of Ghanaian fashion designers as they get from studio to catwalk. The objective of the study is to investigate and clarify the inspirations and creative processes that propel Ghanaian fashion designers from ideation to catwalk presentation. The paradigm used was a qualitative research approach. This includes observations, interviews, and portfolio analysis of fifteen (15) selected fashion designers in Sekondi Takoradi Metropolis. The collected data were analyzed using thematic analysis. The findings of the research indicate the diverse range of elements influencing Ghanaian fashion designers' creative processes. This creative journey reflects not only the designers' technical expertise but also their profound connection to their cultural heritage and their ability to translate inspiration into tangible works of art. While the runway remains a traditional showcase for designers, leveraging digital platforms can extend their reach and visibility. In recommendation, designers can explore virtual fashion shows, live-streaming events, or interactive online galleries to showcase their collections to a global audience. Embracing digital innovation can amplify brand exposure and drive engagement with fashion enthusiasts worldwide. Ghanaian designers should collaborate with international platforms, this can help them gain recognition and share their culture with the world. The study also contributes to theories of creative processes within design disciplines shedding light on the systematic stages involved in fashion design. By applying entrepreneurship theory, we can analyze how Ghanaian designers identify market opportunities, innovate in design, and create value for their businesses. This was validated in the study where designers conceptualize, iterate, and refine their ideas, thus contributing to the broader discourse on creative practice. From a practical standpoint, this study offers valuable insights for both emerging and established fashion designers, particularly those operating within culture-based industries. The study contributes to theory by documenting the systematic creative processes employed by Ghanaian designers, it provides a roadmap for other practitioners to follow, helping them enhance their design practices and navigate the complexities of the fashion industry.

Creativity is the place where students interact to apply knowledge and create artworks and innovative designs in fine art studios. Arts and technology are to create creativity. The power of art in the classroom inspires teachers to create more engaging learning experiences that equip students with the complexities of the future. The research studies the link between digital technology and visual arts education in fine arts colleges. There is a gap between cutting-edge technological innovations and the world of education. In addition, advanced technologies must be integrated into fine arts education environments and focus on training teachers and raising student's skills through the tools and resources that they need to create attractive and effective learning environments for students. Hence, the research demonstrates that the strategies and results of using technology have had a significant impact on the fields of art, design, and education. The experience can be inspiring and magical for students when art and technology combine to create complementary elements. The research follows a descriptive-analytical approach in analyzing the elements of creating a richer educational environment using technology in fine arts studios. Besides, the research sets out methodologies and rules for technology that can transform the spaces of the artistic studio in the digital age into stimulating environments. Therefore, this leads to transforming the learning environment into a creative environment full of excitement and curiosity to motivate students and increase academic achievement. In conclusion, the research concluded that artistic creativity comes from generating, visualizing, organizing, and developing ideas and artistic works to design artistic studio spaces that enhance technology to develop students' creative skills.