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The blooming desert or ‘El desierto florido’ in Spanish, is a millenarian climate pattern caused by El Niño that warms the surface waters in the eastern tropical Pacific Ocean and creates the conditions for rain in the Altiplano and the Atacama Desert, north of Chile. After some millimeters of abundant rain, a rich biotic community emerges, and in a matter of hours or days, the driest surface on Earth becomes an impressive colorful habitat for more than two hundred different species of eye-catching flowers that host the desert biotic life. Unfortunately, this breathtaking display of colors coexists with less appealing but equally astonishing landscapes. The Atacama Desert harbors the largest accumulation of discarded clothing worldwide and the largest pools of lithium mining which require vast amounts of water for their production. Every year, approximately 56,000 tons of used clothing, predominantly consisting of fast fashion polyester products, water-intensive cotton fabrics, and equally polluting material scraps, are deposited, forming toxic mountains of waste. This article presents an interpretation of these distinct landscapes as interconnected realities of the dump that illustrate the impact of biocultural semiocides, whereby the loss of relationships and meanings with Earth materials is shaped by glocal forces. By making this argument, the article contends that the Atacama region replicates the conditions of the Earth as a global dumping and solastalgia, namely ‘the pain caused by the loss of solace and the sense of desolation connected to one´s home and territory.’.

The superior features of the Metaverse make it particularly adapted to product design since it can fully satisfy the user with design solutions that can fulfil their emotional and functional imagination without any physical restrictions. However, its application in the design field has not been investigated since the interactivity that the Metaverse can provide has not been fully exploited. In this paper, an interactive design system facing the Metaverse is proposed to link Metaverse digital space and real physical space to enhance human-Metaverse interaction. The proposed system should be capable of integrating the design’s physical content, including product components, with the designer’s professional knowledge. For this purpose, the key to realizing this system, the product design process and its related design knowledge, has been modelled. The designer’s professional knowledge is extracted and simulated as several perceptual cognition models. A fuzzy transformer method is innovatively developed for the perceptual cognition model’s computational modeling. Using these models, the user-system-Metaverse interactions and virtual and real product interactions are enhanced. This work provides a conceptual framework for a Metaverse interactive design system based on human perceptual cognition computational modeling. The proposed system greatly extends the application of the Metaverse and it can be applied to various product design system developments. IEEE

Purpose: This research aims to present a distributed localized manufacturing (DLM)-based personalized customization Supply Chain (PCSC) model with facility siting, with the objective of enhancing the sustainability level of PCSCs within the context of Industry 5.0. Design/methodology/approach: To accomplish the objectives, a DLM-based PCSC model is constructed, and the supply chain is optimized using a P-Median model with genetic algorithm. Furthermore, a hybrid simulation model, combining agent-based modeling and discrete event simulation, is employed to analyze and gather data on sustainable metrics. Findings: The implementation of the DLM-based PCSC model yields improvements in supply chain efficiency through cost reduction, risk mitigation, and enhanced responsiveness. By leveraging the decentralized manufacturing approach of DLM, organizations can minimize transportation distances, optimize resource utilization, and strengthen coordination among geographically dispersed facilities. Consequently, sustainability and overall performance within the supply chain are enhanced. Practical implications: This study offers valuable recommendations for stakeholders and managers, including the adoption of distributed local manufacturing, optimization of facility locations, and the integration of sustainability metrics analysis into decision-making processes. These measures contribute to the improvement of supply chain sustainability and performance. Originality/value: This article makes a significant contribution to the field by proposing a DLM-based PCSC model that incorporates facility siting. The employment of a hybrid simulation model presents an integrated approach to assessing supply chains. In addition, it expands the measurement of sustainability metrics and provides insights to enhance the sustainability and efficiency of PCSCs. IEEE

I mitt projekt har jag utforskat, designat och reflekterat kring utvecklingen av ett hållbart klädvarumärke, Octeon. Genom tre delar – undersökande, kreativ och reflekterande – har jag strävat efter att skapa ett modekoncept som förenar hållbarhet och stil. Projektets undersökande del fokuserar på hur grafisk design kan påverka konsumenternas val mot mer hållbara kläder. Jag undersökte designfaktorer som färgval, mångsidighet, minimalism och kvalitetsmedvetenhet, och hur dessa påverkar varumärkesidentitet och köpbeslut. Resultaten visade att konsumenter söker kläder som är hållbara, av hög kvalitet och kan integreras i deras befintliga garderob. Den kreativa delen av projektet beskriver utvecklingen av Octeon, ett innovativt varumärke med fokus på anpassningsbara kläder. Inspirerad av naturens anpassningsförmåga, som kameleontens och bläckfiskens, designade jag kläder med utbytbara delar. Dessa kläder kan förändras över tid, vilket minskar miljöpåverkan och motverkar överkonsumtion. Jag använde designworkshops och användarstudier för att säkerställa att produkterna inte bara är hållbara utan också möter konsumenternas behov och preferenser. Varumärkets visuella identitet, med nyanser av grönt och en minimalistisk design, kommunicerar dess kärnvärden av hållbarhet, exklusivitet och innovation. I den reflekterande delen ser jag tillbaka på processen att skapa en utställning och en pitch för att presentera Octeon. Utställningen framhävde designens potential snarare än själva plaggen, medan pitchen syftade till att inspirera medvetna konsumenter att göra hållbara val. Jag inkluderade också prototyper av tilläggsprodukter som väskor och vattenflaskor, för att illustrera hur Octeons koncept kan utvecklas vidare. Internetpubliceringen bidrog till att sprida varumärkets vision och värderingar. Genom hela projektet har jag strävat efter att visa hur grafisk design kan vara ett kraftfullt verktyg för att förändra konsumtionsmönster och främja hållbarhet inom modeindustrin, In my project, I have explored, designed, and reflected on the development of a sustainable clothing brand, Octeon. Through three parts – exploratory, creative, and reflective – I have aimed to create a fashion concept that combines sustainability and style. The exploratory part of the project focuses on how graphic design can influence consumers' choices towards more sustainable clothing. I examined design factors such as color selection, versatility, minimalism, and quality awareness, and how these affect brand identity and purchasing decisions. The results showed that consumers seek clothing that is sustainable, high-quality, and can be integrated into their existing wardrobe. The creative part of the project describes the development of Octeon, an innovative brand focused on adaptable clothing. Inspired by nature's adaptability, such as that of chameleons and octopuses, I designed clothes with interchangeable parts. These clothes can change over time, reducing environmental impact and counteracting overconsumption. I used design workshops and user studies to ensure that the products are not only sustainable but also meet consumers' needs and preferences. The brand's visual identity, with shades of green and a minimalist design, communicates its core values of sustainability, exclusivity, and innovation. In the reflective part, I look back on the process of creating an exhibition and a pitch to present Octeon. The exhibition highlighted the potential of the design rather than the garments themselves, while the pitch aimed to inspire conscious consumers to make sustainable choices. I also included prototypes of additional products such as bags and water bottles, to illustrate how Octeon's concept can be further developed. Online publication helped spread the brand's vision and values. Throughout the project, I have strived to show how graphic design can be a powerful tool for changing consumption patterns and promoting sustainability in the fashion industry. O

I mitt projekt har jag utforskat, designat och reflekterat kring utvecklingen av ett hållbart klädvarumärke, Octeon. Genom tre delar – undersökande, kreativ och reflekterande – har jag strävat efter att skapa ett modekoncept som förenar hållbarhet och stil. Projektets undersökande del fokuserar på hur grafisk design kan påverka konsumenternas val mot mer hållbara kläder. Jag undersökte designfaktorer som färgval, mångsidighet, minimalism och kvalitetsmedvetenhet, och hur dessa påverkar varumärkesidentitet och köpbeslut. Resultaten visade att konsumenter söker kläder som är hållbara, av hög kvalitet och kan integreras i deras befintliga garderob. Den kreativa delen av projektet beskriver utvecklingen av Octeon, ett innovativt varumärke med fokus på anpassningsbara kläder. Inspirerad av naturens anpassningsförmåga, som kameleontens och bläckfiskens, designade jag kläder med utbytbara delar. Dessa kläder kan förändras över tid, vilket minskar miljöpåverkan och motverkar överkonsumtion. Jag använde designworkshops och användarstudier för att säkerställa att produkterna inte bara är hållbara utan också möter konsumenternas behov och preferenser. Varumärkets visuella identitet, med nyanser av grönt och en minimalistisk design, kommunicerar dess kärnvärden av hållbarhet, exklusivitet och innovation. I den reflekterande delen ser jag tillbaka på processen att skapa en utställning och en pitch för att presentera Octeon. Utställningen framhävde designens potential snarare än själva plaggen, medan pitchen syftade till att inspirera medvetna konsumenter att göra hållbara val. Jag inkluderade också prototyper av tilläggsprodukter som väskor och vattenflaskor, för att illustrera hur Octeons koncept kan utvecklas vidare. Internetpubliceringen bidrog till att sprida varumärkets vision och värderingar. Genom hela projektet har jag strävat efter att visa hur grafisk design kan vara ett kraftfullt verktyg för att förändra konsumtionsmönster och främja hållbarhet inom modeindustrin, In my project, I have explored, designed, and reflected on the development of a sustainable clothing brand, Octeon. Through three parts – exploratory, creative, and reflective – I have aimed to create a fashion concept that combines sustainability and style. The exploratory part of the project focuses on how graphic design can influence consumers' choices towards more sustainable clothing. I examined design factors such as color selection, versatility, minimalism, and quality awareness, and how these affect brand identity and purchasing decisions. The results showed that consumers seek clothing that is sustainable, high-quality, and can be integrated into their existing wardrobe. The creative part of the project describes the development of Octeon, an innovative brand focused on adaptable clothing. Inspired by nature's adaptability, such as that of chameleons and octopuses, I designed clothes with interchangeable parts. These clothes can change over time, reducing environmental impact and counteracting overconsumption. I used design workshops and user studies to ensure that the products are not only sustainable but also meet consumers' needs and preferences. The brand's visual identity, with shades of green and a minimalist design, communicates its core values of sustainability, exclusivity, and innovation. In the reflective part, I look back on the process of creating an exhibition and a pitch to present Octeon. The exhibition highlighted the potential of the design rather than the garments themselves, while the pitch aimed to inspire conscious consumers to make sustainable choices. I also included prototypes of additional products such as bags and water bottles, to illustrate how Octeon's concept can be further developed. Online publication helped spread the brand's vision and values. Throughout the project, I have strived to show how graphic design can be a powerful tool for changing consumption patterns and promoting sustainability in the fashion industry. O

Sammanfattning Syftet med denna studie var att utveckla ett tyg som tillåter mindre överföring av svett, svettrelaterade missfärgningar och svettodör i axillära regionen till ovanpåliggande plagg. Ämnet är relevant för forskning på grund av både de miljömässiga utmaningar som orsakas av mikroplaster som frigörs vid tvätt och de sociala komplikationer som utlöses av svettfläckar och missfärgningar på plagg. Detta undersöktes via laboratoriska- och empiriska tester av det utvecklade tyget med avseende på luftgenomsläpplighet, vätbarhet, termisk absorption, missfärgning och visuella svettfläckar. Resultaten från denna studie visade att det framtagna tyget, trots att den hindrar värmeöverföring från kropp till yta i axillär region, innehar flera fördelar, exempelvis att den höga luftgenomsläppsligheten kompenserar för dess värmeisolering och på så sätt hindrar att kroppen blir för varm även då flera lager av kläder bärs. Vidare visade studien att plagg som bars med prototyp-tyget inte uppvisade några visuella svettfläckar i axillära regionen, till skillnad från plagg med andra tyger. Detta bedömdes bero på prototypens förmåga att absorbera och jämnt fördela svett, samt dess hydrofoba ytterlager som förhindrade svettöverföring och därmed förhindrade missfärgning från apokrint svett. Klädesplagg med det framtagna tygets egenskaper kan tänkas bidra till att förbättra användares sociala mående genom att förhindra känslor av skam- och social ångest relaterade till svettproblem. Slutligen visade resultaten i denna studie att användningen av det framtagna tyget kan bidra till minskning av tvätt, vilket minskar utsläpp av mikroplaster och bevarar textilkvaliteten., The aim of this study was to develop a fabric that could minimize sweat stains, perspiration and sweat related discoloration to an overlying garment in the axillary region. The subject was relevant to research due to environmental challenges caused by microplastics released during washing, as well as the social complications triggered by sweat stains and discolorations on clothing. This was investigated by laboratory and empirical testing of the developed fabric and developed prototype on; air-permeability, wettability, thermal absorption, discoloration and visual sweat stains. Results of this study demonstrated that the developed prototype, despite impending heat transfer from body to surface in the axillary region, offers several advantages. The high air permeability of the prototype engenders a negative feedback loop for the excess heat retained, allowing the body to breathe, thereby reducing skin moisture. Furthermore, the investigation demonstrated that the T-shirt worn with the prototype exhibited no visual sweat stains in the axillary region, unlike the one without the prototype. This is attributed to the prototype's ability to absorb and evenly distribute moisture, as well as its hydrophobic outer layer, which prevents moisture transfer, and thusly prevents discoloration from apocrine sweat glands. Additionally, this enhances the user's mental well-being by easing feelings of shame and social anxiety associated with sweat-related issues, thereby potentially promoting professional advancement and mitigating frustration and melancholy. Lastly, the utilization of the prototype entails reduced washing, thereby diminishing microplastic emissions and preserving textile quality.

296 p., This thesis explores the continuities of the forms of disappearance in Brazil during the dictatorship and today. It investigates whether or not is it possible to materialize the precariousness of life at the moment of death. It specifically asks: `what forms of citizenship are constructed in the bureaucratization of death?¿ and `what technologies have been deployed in these strategies?¿ Drawing upon contemporary archaeology to address these questions, this work considers how different bodies, individuals and populations are variously categorized as undesirable, dangerous, and deviant, through the different forms of treatment they have received throughout their lives and deaths. It was found that, if during life these populations are over-controlled by the State through its institutions and forms of policing, they are then also neglected and abandoned in the construction of their citizenship in death. A major approach of this work was to observe how material elements linked to individuality, a fundamental conceptin the identification process, were lost on the way to burial. It is argued that institutional omission is one of the techniques of making people, whose bodies are not considered important, disappear. Further, when racism, sexism and classism essentially crossed paths, in the form of negligence and omission by officers and the State itself in the treatment of those people who are deprived of their status as political subjects, such people can only attain a socially acknowledged status of `disappeared¿ when their fate is exposed by the mass media, social movements and/or family groups. This thesis confirms the idea that the normality of state violence is, in fact, the normality of a broad process of genocide and of annihilation of entire groups, reaffirming these groups¿ status of subalternity. By doing this investigation, this work strongly contributes to the critical scholarship of violence studies that explore other forms of disappearance in the heart of on

A indústria da moda desempenhou um papel fundamental nos hábitos de con-sumo, especialmente no vestuário, que foi crucial na vida diária, estabelecendo códigos de vestimenta em diversos gêneros (mulher, homem, comunidade LGBT). A moda vai além de ser um mero produto; é uma identidade. As pessoas usam o vestuário como uma expressão de sua personalidade e emoções, tornando-se um tema cultural que promove a livre expressão ao longo das gerações. Este artigo tem como objetivo caracterizar os có-digos de vestuário em diferentes gêneros e contextos, mostrando sua evolução e impacto na sociedade e no desenvolvimento da personalidade. O estudo da moda possibilita a identificação do ritmo e estilo de vida das pessoas., La industria de la moda ha ocupado un lugar preponderante a lo largo de los años en los hábitos de consumo de la sociedad, principalmente el vestuario debido a que ha sido el factor más significativo en el diario vivir de las personas, dando lugar a ciertos códigos de vestimenta en los diferentes géneros (mujer, hombre, comunidad LGBT). Además, el mundo de la moda representa más que un producto, una identidad. Es decir, las personas utilizan el vestuario como una forma de expresar su personalidad y sentir. Además, dicha industria se convirtió en un tema cultural incluyendo la libre expresión, a través de las diferentes generaciones con el transcurso de los años. Por esta razón, el presente artículo tiene como objetivo caracterizar los mencionados códigos de vestuario en los diferentes géneros y contextos en los que se llevaron a cabo, a fin de mostrar su evolución e incidencia en la sociedad dentro del desarrollo de su personalidad. Dado que el estudio de la moda sobre las personas posibilita la identificación del ritmo y estilo de vida de estas., The fashion industry has played a fundamental role in consumption habits, es-pecially in clothing, which has been crucial in daily life, establishing dress codes in various genders (women, men, LGBT community). Fashion goes beyond being a mere product; it is an identity. People use clothing as an expression of their personality and emotions, becoming a cultural theme that promotes free expression across generations. This article aims to characterize dress codes in different genres and contexts, showing their evolu-tion and impact on society and personality development. The study of fashion enables the identification of people’s pace and lifestyle.

The article aims to identify the main clothing-related issues faced by the trans-gender community. It initially addresses various problems related to clothing from mul-tiple perspectives: historical, social, psychological, and physical. The challenges of acces-sing clothing have led to the marginalization and exclusion of transgender individuals in Colombia. The study continues with an exploratory investigation, utilizing interviews as a tool to gather firsthand information. Through these interviews, personal experiences, challenges, and primary clothing-related needs are identified, intending to compare theo-retical findings with the lived reality of transgender individuals. Ultimately, the propo-sed solution to the issue is the development of a product that addresses the physical and psychological needs of this community., O artigo tem como objetivo a identificação das principais problemáticas rela-cionadas ao vestuário da comunidade trans. Inicialmente, aborda diversas problemáticas relacionadas ao vestuário a partir de múltiplas perspectivas: histórica, social, psicológica efísica. Destacam-se problemáticas de acesso à vestimenta que levaram à marginalização e exclusão de pessoas trans na Colômbia. Continuando com uma pesquisa exploratória uti-lizando entrevistas como instrumento para obter informações de primeira mão, por meio destas entrevistas é possível identificar experiências pessoais, desafios e principais necessi-dades relacionadas ao vestuário, buscando comparar os achados teóricos com a realidade das pessoas trans. Finalmente, propõe-se como solução para a problemática um produto que permita satisfazer as necessidades tanto físicas quanto psicológicas desta comunidade., El artículo tiene como objetivo la identificación de las principales problemáticas de vestuario de la comunidad trans, inicialmente aborda diversas problemáticas relacionadas con el vestuario desde múltiples perspectivas: histórica, social, psicológica y física. Se destacan problemáticas de acceso a la vestimenta que ha llevado a la marginalización y exclusión de las personas trans en Colombia. Continuando con una investigación tipo exploratoria utilizando entrevistas como instrumento para obtener información de primera mano, mediante estas entrevistas se logra identificar experiencias personales, desafíos y principales necesidades relacionadas con el vestuario, buscando comparar los hallazgos teóricos con la realidad de las personas trans. Para finalmente, plantear como solución a la problemática un producto que permita satisfacer las necesidades tanto físicas como psicológicas de esta comunidad.

Purpose: The purpose of this study is to explore the antecedents of uncaptured sustainable value and strategies to generate opportunities to capture it in the circular supply chain of post-consumer used clothing. Design/methodology/approach: This study is based on an inductive analysis of 21 semi-structured interviews conducted with various stakeholders in the circular clothing supply chain (for-profit and not-for-profit) using the value mapping approach, as previously applied in the literature on sustainable business models. Findings: Fifteen antecedents of uncaptured sustainable value, and thirteen value opportunity strategies were revealed that hinder or generate multi-dimensional value types. Economic value is impacted the most, while there is lack of explicit understanding of the impact of these antecedents and strategies on environmental and social value capture. From a multi-stakeholder perspective, the ecosystem is emerging as new for-profit actors are developing novel process technologies, while not-for-profit actors are consolidating their positions by offering new service options. There is also an emerging “coopetition” between the different stakeholders. Research limitations/implications: More granularity in the different types of uncaptured value could be considered, and external supply chain stakeholders, such as the government, could be included, leading to more detailed value mapping. Practical implications: This research provides practitioners with a value-mapping tool in circular clothing supply chains, thus providing a structured approach to explore, analyse and understand uncaptured value and value opportunities. Originality/value: This extended value perspective draws upon the value-mapping approach from the sustainable business model literature and applies it in the context of the circular clothing supply chain. In doing so, this research illustrates circular clothing supply chains in a new way that facilitates an improved understanding of mult

Under 1900-talet blev konsumentprisindex (KPI) till ett allt mer oumbärligt redskap för att förstå och styra samhällsekonomin. Ändå har det aldrig varit helt givet vad detta index ska mäta, än mindre hur mätningen ska gå till i praktiken. Inte bara varupriser förändras över tid – även varorna själva. Priset på falukorv noteras minutiöst, månad för månad. Men noteringarna säger föga om hur mycket korv man får för pengarna, om det är så att köttmassan efter hand blandas ut med potatismjöl. Att följa prisutvecklingen på kläder har visat sig utstuderat svårt när skiftande modetrender betyder att klädbutikernas utbud ständigt byts ut. När en ny typ av produkt dyker upp på marknaden är det knappast självklart om dess pris ska anses vara jämförbart med något av de priser som tidigare noterats i statistiken. Det går helt enkelt inte att mäta inflation utan att värdera varors kvalitet. Men kvaliteten låter sig bara värderas subjektivt, med utgångspunkt i en föreställd konsument. "Varors värde" är den första historiska studien som klarlägger hur detta ”kvalitetsproblem” har hanterats i praktiken, i arbetet med att räkna fram Sveriges KPI. Boken väcker frågor om det ekonomiska vetande som vanligen tas för givet. Alternativa sätt att värdera kvalitet skulle kunna ge radikalt annorlunda berättelser om hur levnadsstandarden har utvecklats över tid. Samtidigt kastar "Varors värde" nytt ljus på 1900-talets konsumtionskultur: en högst konkret historia om wienerbröd, nylonstrumpor och bilavgaser.

Purpose: The purpose of this study is to explore the antecedents of uncaptured sustainable value and strategies to generate opportunities to capture it in the circular supply chain of post-consumer used clothing. Design/methodology/approach: This study is based on an inductive analysis of 21 semi-structured interviews conducted with various stakeholders in the circular clothing supply chain (for-profit and not-for-profit) using the value mapping approach, as previously applied in the literature on sustainable business models. Findings: Fifteen antecedents of uncaptured sustainable value, and thirteen value opportunity strategies were revealed that hinder or generate multi-dimensional value types. Economic value is impacted the most, while there is lack of explicit understanding of the impact of these antecedents and strategies on environmental and social value capture. From a multi-stakeholder perspective, the ecosystem is emerging as new for-profit actors are developing novel process technologies, while not-for-profit actors are consolidating their positions by offering new service options. There is also an emerging “coopetition” between the different stakeholders. Research limitations/implications: More granularity in the different types of uncaptured value could be considered, and external supply chain stakeholders, such as the government, could be included, leading to more detailed value mapping. Practical implications: This research provides practitioners with a value-mapping tool in circular clothing supply chains, thus providing a structured approach to explore, analyse and understand uncaptured value and value opportunities. Originality/value: This extended value perspective draws upon the value-mapping approach from the sustainable business model literature and applies it in the context of the circular clothing supply chain. In doing so, this research illustrates circular clothing supply chains in a new way that facilitates an improved understanding of mult

En este trabajo se recopilan todos los restos de tejidos documentados en contextos argáricos y se analizan las características técnicas de los estudiados hasta la fecha con el fin de aproximarnos a las técnicas utilizadas, tanto de hilado como de tejeduría, y a la función que tendrían en los contextos en los que fueron depositados. Su estudio en conjunto permite inferir, por un lado, un elevado grado de normalización en la elaboración de hilos y tejidos. Esto es observable en el uso casi exclusivo de fibras vegetales como el lino y de las mismas técnicas de hilado y tejeduría en prácticamente todos los tejidos, en la regularidad del diámetro de los hilos y en la recurrencia de densidades de entramado similares. Por otro lado, la asociación a artefactos con los que, sobre todo, forman parte de los ajuares en tumbas, permiten valorar la importancia de su utilización en las prácticas funerarias, así como inferir su funcionalidad como posibles sudarios, envoltorios o, incluso, vestimentas., This paper compiles all the textile remains documented in El Argar contexts and analyses the technical characteristics of those studied to date in order to approach the techniques used, both in spinning and weaving, and the function they would have had in the contexts in which they were deposited. Their study as a whole allows us to infer, on the one hand, a high degree of standardisation in the production of yarns and weavings. This is observable in the almost exclusive use of vegetable fibres such as linen and the same spinning and weaving techniques in all the weavings, in the regularity of the diameter of the threads and the recurrence of similar weave densities. On the other hand, the association with artefacts which, above all, form part of the grave goods in tombs, allow us to assess the importance of their use in funerary practices, as well as to infer their functional ity as possible shrouds, wrappings or even clothing.

This article touches upon the jewelry, clothing, silver goods and other interesting pieces that Ana Félix de Guzmán provided for the matrimony with Francisco Miguel de los Cobos, future Marquis of Camarasa. This inventory will allow the readers to understand a part of the Marquises of Camarasa’s personal assets., En este artículo se pretende estudiar el conjunto de joyas, vestidos, plata labrada y otras piezas interesantes que se tasan en la carta de dote de Ana Félix de Guzmán, hija de los primeros condes de Olivares, con motivo de su matrimonio en 1568 con Francisco Miguel de los Cobos, heredero de los marqueses de Camarasa. Con este análisis daremos a conocer parte del patrimonio suntuario de los II marqueses de Camarasa, una de las familias más importantes de la Edad Moderna.

A set of 100 fibulae from Cerro de las Albahacas (Jaén) is presented. They were recovered in the context of the “Baecula project” that investigates the well-known battle between the Carthaginian and Roman armies from 208 B.C., in the context of the Second Punic War. Typologically, they ascribe mostly to different La Tène type models made in one piece, generally of iron, together with a few of the ‘hispanic annular’ type, characterized by the small dimensions that many of the specimens show. Among them, a singular fibula stands out, of La Tène inspiration, decorated with golden triangles on the bridge. So, this batch encompasses different well-known models in various contexts of the Iberian Peninsula, when not exclusive to these territories. It should be related to the significant presence of auxiliary Iberian contingents in the battle, indicated by the literary sources, to which is added the military character of some types. Despite the difficulty in identifying the equipment of the contenders, with a significant presence of Hispanic troops, some conclusions from the characteristics of certain fibulae can be deduced, which provides information about the status, origin, or clothing of the combatants. In the area of the battle, some other fibulae were recovered that had no relation to it, since they belong to a clearly earlier or later chronology. The recorded repertoire and the method used in its recovery offers a model for studying similar assemblages and recognizing Hispanic contingents in other scenes of the Second Punic War.

This dissertation investigates the involvement of Jewish commercial clothiers in the making of women’s modernity in turn-of-the century Berlin. Its focus is specifically on expressions of support for and collaboration with the first women’s movement, and on the promotion of feminine ideals that corresponded with the modern female type known as the New Woman, in a non-advertising context. The thesis explores how the public investment of clothing manufacturers and retailers in the middle-class women’s cause related to their roles as employers, pioneers of consumer culture, and profit-driven businesses, each of these areas intersecting with middle-class women’s modernity in different ways. Using a mixed methodology including ideas from discourse analysis and close reading, the author considers how these positions were inflected by class, gender and ethnicity. Importantly, the research suggests how the Jewishness of companies and their owners factored into the equation, among other things through politics and Jewish philanthropic practices. The arguments draw on three original case studies, which also represent three arenas in which women’s modernity was manifested in Wilhelmine Berlin, the centre of the German clothing trade: the commercial company, the trade press, and the universal exhibition. The first chapter analyses the illustrated promotional albums published by Kaufhaus N. Israel, a family-run store and clothing manufacturer in Berlin. The findings show how the firm idealised the growing participation of women in modern life and connected this phenomenon to contemporary feminism. The second chapter examines how the journal Der Confectionair, as the leading trade publication of commercial clothiers, sided with the middle-class women’s cause while remaining sceptical about reform in the clothing industry, which through its manufacturing practices contributed to the marginalisation of working-class women. The third chapter addresses the central role played by comm

This dissertation investigates the involvement of Jewish commercial clothiers in the making of women’s modernity in turn-of-the century Berlin. Its focus is specifically on expressions of support for and collaboration with the first women’s movement, and on the promotion of feminine ideals that corresponded with the modern female type known as the New Woman, in a non-advertising context. The thesis explores how the public investment of clothing manufacturers and retailers in the middle-class women’s cause related to their roles as employers, pioneers of consumer culture, and profit-driven businesses, each of these areas intersecting with middle-class women’s modernity in different ways. Using a mixed methodology including ideas from discourse analysis and close reading, the author considers how these positions were inflected by class, gender and ethnicity. Importantly, the research suggests how the Jewishness of companies and their owners factored into the equation, among other things through politics and Jewish philanthropic practices. The arguments draw on three original case studies, which also represent three arenas in which women’s modernity was manifested in Wilhelmine Berlin, the centre of the German clothing trade: the commercial company, the trade press, and the universal exhibition. The first chapter analyses the illustrated promotional albums published by Kaufhaus N. Israel, a family-run store and clothing manufacturer in Berlin. The findings show how the firm idealised the growing participation of women in modern life and connected this phenomenon to contemporary feminism. The second chapter examines how the journal Der Confectionair, as the leading trade publication of commercial clothiers, sided with the middle-class women’s cause while remaining sceptical about reform in the clothing industry, which through its manufacturing practices contributed to the marginalisation of working-class women. The third chapter addresses the central role played by comm

The purpose of this study was to better understand how consumers of fast fashion clothing with different shopping motivations consider sustainability during their purchase. The different shopping motivations are hedonic and utilitarian, which are respectively the emotion of shopping and the function of shopping. The main question for this research was “How do consumers of fast fashion clothing with different motivations (hedonic or utilitarian) consider sustainability during their purchase?” This qualitative research made use of 11 focus groups and a total of 44 participants to obtain in-depth data. The participants were divided into whether their main shopping motivation was hedonic, or utilitarian based on how they answered specific questions. The answers from both groups were compared with each other to find possible differences. When weighing the evidence and conclusions from the research, it appears relatively likely that there are no significant differences between consumers with a hedonic main shopping motivation and consumers with a utilitarian main shopping motivation. This leads to the conclusion of the main question, which is that there is no difference in how consumers of fast fashion clothing with different motivations consider sustainability during their purchase.

Repairing is one of the alternative business alternatives at the end-of-life phase of clothing, that is seen to be a potential solution for the biggest challenge that the fashion industry faces today - waste. The purpose of this research is to extend our collective understanding of consumers’ value in clothes that lead to their willingness to keep a garment in use for longer. It then identifies how brands could adapt their strategy based on this understanding to better involve consumers to promote the use of clothes repair. A quantitative research design was applied using a consumer survey. The survey questions were designed according to the subjects that emerged from the literature review to answer the presented research questions. The most significant cognitive factors affecting consumers’ repair attitude and behaviour arising from the findings are emotional attachment, product properties such as quality, fashion leadership, subjective norms and awareness of the environmental impact of repair. Demographic factors of age, gender and income group moderate the impact of these factors and are useful to narrow down the strategy for the brand’s target consumers. The communication, cost, service convenience and service quality are determined to be the dominant factors in the strategy for brands offering repair service.

Textilindustrin är en av de största förorenarna i världen, med en enorm miljöpåverkan från både produktion och avfallshantering. Tygrester är ett av de största avfallsproblemen inom textilindustrin, med miljontals ton av tyg som slängs varje år. Dessa tygrester kan användas för att skapa nya produkter i stället för att hamna på soptippen. Ett upcyclingscenter för tygrester skulle kunna hjälpa till att minska avfallsproblemet och samtidigt bidra till en mer hållbar textilindustri. Syftet med projektet är att skapa ett upcycklingscenter för tygrester där man kan skapa nya produkter av de överblivna tygerna från textilindustrin. Centret ska främja hållbarhet, minska avfallsmängden och samtidigt skapa möjligheter för kreativitet och utbildning. Centret kommer att ta emot tygrester från textilindustrin och sortera dem efter kvalitet, färg och typ. Därefter kommer de att bearbetas och omvandlas till nya produkter såsom kläder, väskor, tyger och byggmaterial. Produkterna kommer att säljas online och i en butik på plats, där intäkterna kommer att användas för att finansiera centrets drift. I det privata programmet finns kontorsplatser för större klädföretag, kontor för mindre företag med coworkingspace samt studieplatser för universitetsstudenter. I koppling till dem finns lokaler för inkubatorverksamhet. I den offentliga delen finns utrymmen för workshops och kurser där man kan lära sig om upcycling och skapa sina egna produkter av tygrester. Det kommer finnas olika makerspace där besökare kan sy kläder eller väva tyger mot en lägre kostnad. Utöver det kommer det finnas rum för utställningar som rör textilkonst och för modevisningar av hållbart mode. Genom att skapa ett upcycling center för tygrester kommer vi att minska avfallsmängden från textilindustrin och samtidigt skapa nya möjligheter för hållbarhet och kreativitet. Centret kommer att generera inkomster genom försäljning av produkter och bidra till utbildning och medvetenhet om textilindustrins effekter på miljön., The textile industry is one of the largest polluters in the world, with a significant environmental impact from both production and waste management. Fabric waste is one of the biggest issues within the textile industry, with millions of tons of fabric discarded each year. These fabric scraps can be utilized to create new products instead of ending up in landfills. An upcycling center for fabric waste could help reduce the waste problem and contribute to a more sustainable textile industry. The purpose of the project is to establish an upcycling center for fabric waste, where new products can be created using the leftover fabrics from the textile industry. The center aims to promote sustainability, reduce waste, and create opportunities for creativity and education. The center will receive fabric waste from the textile industry and sort them based on quality, color, and type. They will then be processed and transformed into new products such as clothing, bags, fabrics, and building materials. The products will be sold online and in an on-site store, with the revenue being used to fund the center's operations. The private program of the center will include office spaces for larger clothing companies, offices for smaller businesses with coworking spaces, as well as study areas for university students. Additionally, there will be facilities for incubator activities. In the public section, there will be spaces for workshops and courses where people can learn about upcycling and create their own products from fabric waste. Various makerspaces will be available for visitors to sew clothes or weave fabrics at a lower cost. Furthermore, there will be exhibition rooms showcasing textile art and sustainable fashion shows. By establishing an upcycling center for fabric waste, we will reduce the amount of waste generated by the textile industry while creating new opportunities for sustainability and creativity. The center will generate income through product sales and contribut

BACKGROUND: Southeast Asia is making tremendous progress towards their 2030 malaria elimination goal but needs new interventions to stop forest malaria. This study trials two new vector control tools, a volatile pyrethroid spatial repellent (VPSR) and insecticide-treated clothing (ITC), amongst forest-exposed populations in Mondulkiri Province Cambodia to inform their potential use for eliminating forest malaria. METHODS: 21 forest-exposed individuals were given a questionnaire on their perceptions of malaria and preventive practices used, after which they trialed two products sequentially. Clothes was treated with ITC by the study team. Mixed methods were used to understand their experience, attitudes, and preferences regarding the products trialed. Quantitative data was summarized and qualitative insights were analysed using thematic analysis, applying the Capability, Opportunity, and Motivation Behaviour Change (COM-B) model and Behaviour Change Wheel Framework to identify intervention functions to support tailored product rollout amongst these populations. RESULTS: Study participants reported a need for protection from mosquito bites in outdoor and forest-exposed settings and perceived both products trialed to be effective for this purpose. The VPSR product was preferred when travel was not required, whereas ITC was preferred for ease of use when going to the forest, especially in rainy conditions. COM-B analysis identified that key enablers for use of both products included their perceived efficacy and ease of use, which required no skill or preparation. For barriers to use, the odour of ITC was sometimes perceived as being toxic, as well as its inability to protect uncovered skin from mosquito bites, while the perceived usefulness of the VPSR product trialed was limited by its water sensitivity in rainy forest settings. Intervention components to encourage appropriate and sustained use of these products include education about how to use these produc

With growing awareness that what we put in and on our bodies affects our health and wellbeing, little is still known about the impact of textiles on the human skin. Athletic wear often uses silver threading to improve hygiene, but little is known about its effect on the body's largest organ. In this study, we investigated the impact of such clothing on the skin's chemistry and microbiome. Samples were collected from different body sites of a dozen volunteers over the course of 12 weeks. The changes induced by the antibacterial clothing were specific for individuals, but more so defined by gender and body site. Unexpectedly, the microbial biomass on skin increased in the majority of the volunteers when wearing silver-threaded T-shirts. Although the most abundant taxa remained unaffected, silver caused an increase in diversity and richness of low-abundant bacteria and a decrease in chemical diversity. Both effects were mainly observed for women. The hallmark of the induced changes was an increase in the abundance of various monounsaturated fatty acids (MUFAs), especially in the upper back. Several microbe-metabolite associations were uncovered, including Cutibacterium, detected in the upper back area, which was correlated with the distribution of MUFAs, and Anaerococcus spp. found in the underarms, which were associated with a series of different bile acids. Overall, these findings point to a notable impact of the silver-threaded material on the skin microbiome and chemistry. We observed that relatively subtle changes in the microbiome result in pronounced shifts in molecular composition. IMPORTANCE The impact of silver-threaded material on human skin chemistry and microbiome is largely unknown. Although the most abundant taxa remained unaffected, silver caused an increase in diversity and richness of low-abundant bacteria and a decrease in chemical diversity. The major change was an increase in the abundance of various monounsaturated fatty acids that were also corre

In this study, it is aimed to present the source of animal figures in Turkish art and mythology, their mythological meanings and the branches of art in which they are applied, by adding a contemporary interpretation to the figures that will inspire, adapting them to clothing designs, ensuring their sustainability and the up-to-date use of cultural elements in the field of fashion and textile. Within the scope of the study, it is understood that the phenomenon of mythology and animal style have a great influence in Turkish art. Animal figures used in Turkish Art and mythology during the Hun, Göktürk, Uyghur, Seljuk and Ottoman periods; It has been applied in art fields such as stone, wood, metal, miniature, tile and weaving. Legendary animals such as double-headed eagle, dragon, phoenix (simurg), griffin, siren, sphinx, clay were frequently used in Turkish art, which has grown and developed from past to present. It is seen that the meanings attributed to the mythical (fantastic) animal figures are shaped by religious beliefs, legends and epics. These mythological animal figures contain qualities such as protection, guiding as an element of fertility, and benevolent. In Turkish Art, animal figures were used less frequently than plant and geometric motifs. In the historical process, the works of mythical animal figures such as the emerald phoenix, double-headed eagle, dragon, sphinx, siren, griffin and clay, which are animal figures in Turkish art and mythology, have been examined in detail by considering their meanings. Designs have been prepared by considering textile surface arrangement and decoration techniques such as animal figures, clothes, digital printing on garment complements, sequin-bead embroidery, embroidery, applique, needle felt. 30 computer-aided designs consisting of clothes, shawls, bags and neck collars were made using emerald phoenix, double-headed eagle, dragon and sphinx figures., Bu çalışmada Türk sanatı ve mitolojisinde yer alan hayvan figürlerinin kaynağını, mitolojik anlamlarını ve uygulandığı sanat dallarını bir bütünlük içerisinde ele alarak sunmak ve esin kaynağı olacak figürlere çağdaş bir yorum katarak giysi tasarımlarına uyarlamak, sürdürülebilirliğini ve kültürel öğelerin moda ve tekstil alanında güncel olarak kullanılabilmesini sağlamak amaçlanmaktadır. Çalışma kapsamında Türk sanatında mitoloji olgusunun ve hayvan üslubunun büyük bir etkisinin olduğu anlaşılmaktadır. Türk Sanatı ve mitolojisinde kullanılan hayvan figürleri Hun, Göktürk, Uygur, Selçuklu ve Osmanlı dönemlerinde; taş,ahşap,maden,minyatür, çini ve dokuma gibi sanat alanlarında uygulanmıştır. Geçmişten günümüze zenginleşerek gelişen Türk sanatında sıklıklıkla çift başlı kartal, ejder, zümrüdü anka (simurg), grifon, siren, sfenks, kilin gibi efsanevi hayvanlar kullanılmıştır. Efsanevi (fantastik) hayvan figürlerine yüklenen anlamların dini inanç, efsane ve destanlarla şekillendiği görülmektedir. Bu mitolojik kaynaklı hayvan figürleri koruma, bereket unsuru olarak yol gösterici, yardımsever gibi nitelikler barındırmaktadır. Türk Sanatı’nda bitkisel ve geometrik motiflere nazaran hayvansal figürler daha seyrek kullanılmıştır. Tarihsel süreç içerisinde Türk sanatı ve mitolojisinde yer alan hayvan figürlerinden zümrüdü anka kuşu, çift başlı kartal, ejder, sfenks, siren, grifon ve kilin gibi efsanevi hayvan figürlerinin yer aldığı eserler içerdiği anlamları ile birlikte ele alınarak detaylı bir şekilde incelenmiştir. Hayvan figürleri giysi, giysi tamamlayıcıları üzerinde dijital baskı, pul-boncuk işleme, nakış, aplike, iğneli keçe gibi tekstil yüzey düzenleme ve süsleme teknikleri düşünülerek tasarımlar hazırlanmıştır. Figürlerden zümrüdü anka kuşu, çift başlı kartal, ejder ve sfenks figürleri kullanılarak bilgisayar destekli giysi, şal, çanta ve boyunluktan oluşan 30 adet tasarım yapılmıştır.

Textilindustrin är en av de största förorenarna i världen, med en enorm miljöpåverkan från både produktion och avfallshantering. Tygrester är ett av de största avfallsproblemen inom textilindustrin, med miljontals ton av tyg som slängs varje år. Dessa tygrester kan användas för att skapa nya produkter i stället för att hamna på soptippen. Ett upcyclingscenter för tygrester skulle kunna hjälpa till att minska avfallsproblemet och samtidigt bidra till en mer hållbar textilindustri. Syftet med projektet är att skapa ett upcycklingscenter för tygrester där man kan skapa nya produkter av de överblivna tygerna från textilindustrin. Centret ska främja hållbarhet, minska avfallsmängden och samtidigt skapa möjligheter för kreativitet och utbildning. Centret kommer att ta emot tygrester från textilindustrin och sortera dem efter kvalitet, färg och typ. Därefter kommer de att bearbetas och omvandlas till nya produkter såsom kläder, väskor, tyger och byggmaterial. Produkterna kommer att säljas online och i en butik på plats, där intäkterna kommer att användas för att finansiera centrets drift. I det privata programmet finns kontorsplatser för större klädföretag, kontor för mindre företag med coworkingspace samt studieplatser för universitetsstudenter. I koppling till dem finns lokaler för inkubatorverksamhet. I den offentliga delen finns utrymmen för workshops och kurser där man kan lära sig om upcycling och skapa sina egna produkter av tygrester. Det kommer finnas olika makerspace där besökare kan sy kläder eller väva tyger mot en lägre kostnad. Utöver det kommer det finnas rum för utställningar som rör textilkonst och för modevisningar av hållbart mode. Genom att skapa ett upcycling center för tygrester kommer vi att minska avfallsmängden från textilindustrin och samtidigt skapa nya möjligheter för hållbarhet och kreativitet. Centret kommer att generera inkomster genom försäljning av produkter och bidra till utbildning och medvetenhet om textilindustrins effekter på miljön., The textile industry is one of the largest polluters in the world, with a significant environmental impact from both production and waste management. Fabric waste is one of the biggest issues within the textile industry, with millions of tons of fabric discarded each year. These fabric scraps can be utilized to create new products instead of ending up in landfills. An upcycling center for fabric waste could help reduce the waste problem and contribute to a more sustainable textile industry. The purpose of the project is to establish an upcycling center for fabric waste, where new products can be created using the leftover fabrics from the textile industry. The center aims to promote sustainability, reduce waste, and create opportunities for creativity and education. The center will receive fabric waste from the textile industry and sort them based on quality, color, and type. They will then be processed and transformed into new products such as clothing, bags, fabrics, and building materials. The products will be sold online and in an on-site store, with the revenue being used to fund the center's operations. The private program of the center will include office spaces for larger clothing companies, offices for smaller businesses with coworking spaces, as well as study areas for university students. Additionally, there will be facilities for incubator activities. In the public section, there will be spaces for workshops and courses where people can learn about upcycling and create their own products from fabric waste. Various makerspaces will be available for visitors to sew clothes or weave fabrics at a lower cost. Furthermore, there will be exhibition rooms showcasing textile art and sustainable fashion shows. By establishing an upcycling center for fabric waste, we will reduce the amount of waste generated by the textile industry while creating new opportunities for sustainability and creativity. The center will generate income through product sales and contribut

Consumers are increasingly becoming more sustainable and strive towards making sustainable actions and purchases. As a response, companies attempt to follow this trend by offering sustainable and eco-friendly products and services, however, this has increased the tendency of greenwashing techniques. Blockchain technology (BCT), a system that can provide transparent, traceable,and trustworthy information, can thus be the solution for this dilemma in order to decrease the risk of greenwashing. Hence, consumers can feel a lack of trust towards current products that are considered to be eco-friendly, while these actually could be non-eco-friendly, and consumers’ willingness to pay a higher price can be diminished - which is a problem that BCT potentially addresses. The purpose of this present study is to understand and assess the role of blockchain technology (BCT) towards Swedish consumers’ intention of purchasing clothing products that are considered to be eco-friendly. In order to answer this purpose, Swedish consumers’ attitudes towards BCT are measured empirically in terms of a quantitative study, where a questionnaire was conducted and received a total of 71 respondents. The results highlight that, in the context of clothing product purchases, Swedish consumers currently are not purchasing eco-friendly clothing products and they do not strive to purchase these to a high extent. However, if BCT would be available before the consumer purchases the clothing product, results emphasize that consumers would be more prone to purchase eco-friendly products. Additionally, results reveal that consumers would feel a high level of trust towards clothing companies and their products if BCT would be available prior to purchase. Ultimately, it was uncovered that consumers are willing to pay a higher price for eco-friendly clothing products if BCT is available. This study thus provides insights about the advantages of utilizing BCT within the business, which is applicable to par

According to common sense, fashion and feminism do not get along. Often in history, male fashion designers have exploited the female body for their artistic whims, and just as often, women have refused to comply with the dictates of fashion as the embodiment of an aestheticizing and fetishistic male gaze. However, on many occasions, feminists have reappropriated and resemantized the domestic practices of knitting, sewing and embroidery, conceptualizing them as different ways to think about politics, community, the self, and relationality. Among the many philosophers and activists of Italian second wave feminism, the most influential is undoubtedly Carla Lonzi. Over the years, Carla Lonzi has almost been turned into an idol, exploring every nuance of her thought both in feminism and art criticism. However, her image has remained unexplored, probably considered not particularly relevant. Through her work, this article analyzes the complex dynamics between fashion and feminism, and reconstructs Carla Lonzi’s wardrobe starting from the photographs in her books and in archives, interpreting it with the help of her diary Taci, anzi parla, and of her collection of poems Scacco ragionato.

Monográfico: Estructura y dinámica de las cadenas globales de valor, Los fenómenos de la fragmentación productiva internacional y las cadenas globales de valor implican la redefinición de la noción de competitividad desde un punto de vista articulado. Las ventajas competitivas están determinadas por la posición ocupada en relación con la estructura interindustrial y la articulación geográfica específica. En este trabajo se analiza el crecimiento del sector textil desagregándolo en dos subsectores que se sitúan de forma distinta en el conjunto de la industria, la fabricación de tejido y la confección. Los resultados muestran que su diferente comportamiento deriva de la distinta posición ocupada en la cadena y que el marco institucional específico ha condicionado sus desempeños comerciales., The phenomena of international productive fragmentation and global value chains imply the redefinition of the notion of competitiveness from an articulated point of view. Competitive advantages are determined by the position occupied in relation to the inter-industrial structure and the specific geographical articulation. This paper analyses the growth of the textile sector, disaggregating it into two subsectors that are positioned differently in the industry as a whole: fabric manufacturing and clothing. The results show that their different behaviour derives from the different position occupied in the chain and that the specific institutional framework has conditioned their business performance., Instituto Complutense de Estudios Internacionales, TRUE, pub

During the intake process, women were stripped of their clothing and all their hair was shaved off. This thesis examines the significance of hair and clothing during and beyond the confines of the intake process in order to make three main contributions to the wider literature. Firstly, while the intake process is often seen as an act of dehumanisation, this thesis signals that survivors discussed their experience of the intake process and the camp experience as a whole around a broad range of themes including beauty, femininity, uncleanliness, and parasites. Secondly, through exploring sexual assault, sexual relations, and sexual barter, recent literature has tended to view their female body primarily through its reproductive nature. This thesis explores the gendered embodied experience through aspects of the non-reproductive body, in particular the hair on women’s heads and the clothing they adapted and wore. Here the thesis makes a third contribution by providing an insight into physical bodily management as women used their clothing to protect their body in, and from, the Auschwitz environment. Analysing the testimonies of Greek Jewish women, an often overlooked, underrepresented, and unique group of survivors, this thesis asks the following questions: what was the significance of hair and clothing to women prisoners in Auschwitz-Birkenau, and how did their lived bodily experience change throughout the camp experience?

This paper investigates how the American contra Scandinavian prison system relate to prison clothing. Furthermore, it discusses the history of prison uniform and how prison uniform connects to identity. With the end goal of examining whether prison clothing contributes to the ever so nourished discourse, in which clothing is simply described as part of vanity. The research conducted is a direct result of my studies at both Lund University and UCLA. Combined with the mentorship of UCLA Prison Education Program and UCLA Art and Global Health Centre.

During the first half of the 20th century, ethnologists investigated rural parts of Sweden. They hoped to uncover traces of a truly ancient culture which they imagined had been preserved unchanged in so-called relic areas. This approach was rejected during the 1970s by a generation of researchers who proceeded from new cultural theoretical perspectives that assumed that culture was in constant change. As a result, the theories about relic areas were not further developed. This dissertation returns to the folk culture but with new perspectives on how to understand the old-fashioned clothing practice. This study investigates Virestad parish, part of a so-called relic area, from 1750 through 1850. By analyzing minutes from parish meetings, the parish letters to the king, articles of clothing, and estate inventories this dissertation presents new perspectives on connections between economic, social, and political development and cultural continuity and change. The most important source has been the estate inventories which provides a unique opportunity to follow the individuals’ clothing choices, from their choice of textiles to decisions regarding clothing economics. The investigation shows that the people of Virestad was not “behind the times”, they were clearly in phase with their contemporaries in politics and trade. Instead, the people actively chose to dress in an old-fashioned way. Most of them had not inherited the old-fashioned clothes that they wore but had them made. This study shows that modernity and tradition do not need to be each other's opposites but can develop in tandem, conditioning each other. Dressing in an old-fashioned manner served as a stabilizer that allowed for a more flexible economic, social, and political culture. Therefore, contrary to previous research, a central finding of the dissertation is that relic areas were innovative and modern, where older elements of tradition existed which gave the population security and stability.

During the first half of the 20th century, ethnologists investigated rural parts of Sweden. They hoped to uncover traces of a truly ancient culture which they imagined had been preserved unchanged in so-called relic areas. This approach was rejected during the 1970s by a generation of researchers who proceeded from new cultural theoretical perspectives that assumed that culture was in constant change. As a result, the theories about relic areas were not further developed. This dissertation returns to the folk culture but with new perspectives on how to understand the old-fashioned clothing practice. This study investigates Virestad parish, part of a so-called relic area, from 1750 through 1850. By analyzing minutes from parish meetings, the parish letters to the king, articles of clothing, and estate inventories this dissertation presents new perspectives on connections between economic, social, and political development and cultural continuity and change. The most important source has been the estate inventories which provides a unique opportunity to follow the individuals’ clothing choices, from their choice of textiles to decisions regarding clothing economics. The investigation shows that the people of Virestad was not “behind the times”, they were clearly in phase with their contemporaries in politics and trade. Instead, the people actively chose to dress in an old-fashioned way. Most of them had not inherited the old-fashioned clothes that they wore but had them made. This study shows that modernity and tradition do not need to be each other's opposites but can develop in tandem, conditioning each other. Dressing in an old-fashioned manner served as a stabilizer that allowed for a more flexible economic, social, and political culture. Therefore, contrary to previous research, a central finding of the dissertation is that relic areas were innovative and modern, where older elements of tradition existed which gave the population security and stability.

Consumers are increasingly becoming more sustainable and strive towards making sustainable actions and purchases. As a response, companies attempt to follow this trend by offering sustainable and eco-friendly products and services, however, this has increased the tendency of greenwashing techniques. Blockchain technology (BCT), a system that can provide transparent, traceable,and trustworthy information, can thus be the solution for this dilemma in order to decrease the risk of greenwashing. Hence, consumers can feel a lack of trust towards current products that are considered to be eco-friendly, while these actually could be non-eco-friendly, and consumers’ willingness to pay a higher price can be diminished - which is a problem that BCT potentially addresses. The purpose of this present study is to understand and assess the role of blockchain technology (BCT) towards Swedish consumers’ intention of purchasing clothing products that are considered to be eco-friendly. In order to answer this purpose, Swedish consumers’ attitudes towards BCT are measured empirically in terms of a quantitative study, where a questionnaire was conducted and received a total of 71 respondents. The results highlight that, in the context of clothing product purchases, Swedish consumers currently are not purchasing eco-friendly clothing products and they do not strive to purchase these to a high extent. However, if BCT would be available before the consumer purchases the clothing product, results emphasize that consumers would be more prone to purchase eco-friendly products. Additionally, results reveal that consumers would feel a high level of trust towards clothing companies and their products if BCT would be available prior to purchase. Ultimately, it was uncovered that consumers are willing to pay a higher price for eco-friendly clothing products if BCT is available. This study thus provides insights about the advantages of utilizing BCT within the business, which is applicable to par

Conjunto de 2039 imágenes reunidas a lo largo de quince años y realizadas por el autor, Antonio Cea Gutiérrez, como apoyo a sus estudios etnográficos y antropológicos en la Sierra de Francia y Candelario. En sus viajes y estancias en los pueblos de Salamanca, y en concreto a la Sierra de Francia, recogía imágenes de arquitectura, escultura, pintura, indumentaria, costumbres populares, joyería y utensilios que fueran considerados de utilidad o representativos de la cultura popular todavía vigente en la zona y de su patrimonio. Las imágenes han servido de apoyo a los estudios realizados por el autor y con frecuencia han formado parte de sus publicaciones. Forman parte del conjunto esquemas realizados por el autor con dibujos de piezas testigo y modelos que han servido para explicar características genéricas de piezas de indumentaria y joyería.

Bu çalışmada Türk sanatı ve mitolojisinde yer alan hayvan figürlerinin kaynağını, mitolojik anlamlarını ve uygulandığı sanat dallarını bir bütünlük içerisinde ele alarak sunmak ve esin kaynağı olacak figürlere çağdaş bir yorum katarak giysi tasarımlarına uyarlamak, sürdürülebilirliğini ve kültürel öğelerin moda ve tekstil alanında güncel olarak kullanılabilmesini sağlamak amaçlanmaktadır. Çalışma kapsamında Türk sanatında mitoloji olgusunun ve hayvan üslubunun büyük bir etkisinin olduğu anlaşılmaktadır. Türk Sanatı ve mitolojisinde kullanılan hayvan figürleri Hun, Göktürk, Uygur, Selçuklu ve Osmanlı dönemlerinde; taş,ahşap,maden,minyatür, çini ve dokuma gibi sanat alanlarında uygulanmıştır. Geçmişten günümüze zenginleşerek gelişen Türk sanatında sıklıklıkla çift başlı kartal, ejder, zümrüdü anka (simurg), grifon, siren, sfenks, kilin gibi efsanevi hayvanlar kullanılmıştır. Efsanevi (fantastik) hayvan figürlerine yüklenen anlamların dini inanç, efsane ve destanlarla şekillendiği görülmektedir. Bu mitolojik kaynaklı hayvan figürleri koruma, bereket unsuru olarak yol gösterici, yardımsever gibi nitelikler barındırmaktadır. Türk Sanatı’nda bitkisel ve geometrik motiflere nazaran hayvansal figürler daha seyrek kullanılmıştır. Tarihsel süreç içerisinde Türk sanatı ve mitolojisinde yer alan hayvan figürlerinden zümrüdü anka kuşu, çift başlı kartal, ejder, sfenks, siren, grifon ve kilin gibi efsanevi hayvan figürlerinin yer aldığı eserler içerdiği anlamları ile birlikte ele alınarak detaylı bir şekilde incelenmiştir. Hayvan figürleri giysi, giysi tamamlayıcıları üzerinde dijital baskı, pul-boncuk işleme, nakış, aplike, iğneli keçe gibi tekstil yüzey düzenleme ve süsleme teknikleri düşünülerek tasarımlar hazırlanmıştır. Figürlerden zümrüdü anka kuşu, çift başlı kartal, ejder ve sfenks figürleri kullanılarak bilgisayar destekli giysi, şal, çanta ve boyunluktan oluşan 30 adet tasarım yapılmıştır., In this study, it is aimed to present the source of animal figures in Turkish art and mythology, their mythological meanings and the branches of art in which they are applied, by adding a contemporary interpretation to the figures that will inspire, adapting them to clothing designs, ensuring their sustainability and the up-to-date use of cultural elements in the field of fashion and textile. Within the scope of the study, it is understood that the phenomenon of mythology and animal style have a great influence in Turkish art. Animal figures used in Turkish Art and mythology during the Hun, Göktürk, Uyghur, Seljuk and Ottoman periods; It has been applied in art fields such as stone, wood, metal, miniature, tile and weaving. Legendary animals such as double-headed eagle, dragon, phoenix (simurg), griffin, siren, sphinx, clay were frequently used in Turkish art, which has grown and developed from past to present. It is seen that the meanings attributed to the mythical (fantastic) animal figures are shaped by religious beliefs, legends and epics. These mythological animal figures contain qualities such as protection, guiding as an element of fertility, and benevolent. In Turkish Art, animal figures were used less frequently than plant and geometric motifs. In the historical process, the works of mythical animal figures such as the emerald phoenix, double-headed eagle, dragon, sphinx, siren, griffin and clay, which are animal figures in Turkish art and mythology, have been examined in detail by considering their meanings. Designs have been prepared by considering textile surface arrangement and decoration techniques such as animal figures, clothes, digital printing on garment complements, sequin-bead embroidery, embroidery, applique, needle felt. 30 computer-aided designs consisting of clothes, shawls, bags and neck collars were made using emerald phoenix, double-headed eagle, dragon and sphinx figures.

In deze voortgangsrapportage wordt ingegaan op de beleidsmonitor over 2021, de Denim Deal, het IMVO-beleid, de communicatiecampagne over tweedehands kleding, het onderzoek naar aankoopgedrag, de inkoop van het Rijk, de uitgebreide producentenverantwoordelijkheid (UPV textiel) en meer en beter inzamelen.

The clothing industry is today linked to several sustainability challenges. Fast fashion is a reason for today's overconsumption, which with new technology, fast production times, and cheap materials has contributed to clothes being constantly consumed and replaced. At the same time, there is an increased awareness regarding sustainability issues and sustainable fashion. The aim of this bachelor thesis, Trendy and environmentally aware? A qualitative study on young women's awareness of fast fashion and its environmental impact is to investigate and understand the driving forces behind the consumption of fast fashion and why young Swedish women choose to consume it despite its negative environmental impact. The theoretical framework used to analyze the material was based on consumer culture theory. The thesis uses a qualitative method in the form of six semi-structured interviews conducted with young women aged 16-29 years old. The theoretical framework used to analyze the material was based on consumer culture theory. The study's results showed that trendy, easy access, low price and up-to-date range were the main factors that resulted in consumers buying fast fashion instead of consuming more sustainably. The study also showed that consumption played a significant role in how women want to be perceived and how others perceive them. Consumers were aware that fast fashion has a negative environmental impact. However, some lacked adequate knowledge about the specific consequences and the extent of these. According to some of the consumers, this was a reason why they did not change their consumption and for others, the positive aspects of fast fashion weighed more heavily.

The interest in revealing the clothing systems of Ecuadorian archetypes such as the chulla from Quito -a character that has been lost in time-, motivates the present re-search. Although there is a vast literary, political and sociological description of the charac-ter, it is necessary a base that reveals and signifies his clothing practices, since the clothing is a means of communication that goes beyond an aesthetic image, since it shows a local referent. The chulla from Quito as a character of study has historical records dating from the sixteenth century to the mid-twentieth century. The origin of its name comes from the Quechua indigenous term “chulla”, which denotes something incomplete and lacking balance. The term chulla quiteño refers to a middle-class, bohemian and charismatic char-acter from the capital who appears to have a lot of money, but lives with empty pockets and has never worked, is alone and single. He appeared to be well dressed, despite having only one suit. The present study aims to document written, literary and visual sources that allow the construction of an imaginary of the clothing systems. The methodology is framed in a qualitative research of interpretative character. It is based on an archival research that allowed the collection of literary and visual sources through sculptures, illustrations and photographs. From the discipline of design, a type of research on design is focused, since it allows us to recreate the social imaginary of the character under study. For the methodo-logical process of cataloguing, the typology of the archive, the typology of the artifact, the archetype and the source are considered. As a partial result, the sources of analysis were invented to conclude with the cataloging of the documentary files, content files and image files. The file feeds the Visual Archive of Ecuadorian Clothing (AVVE)., O interesse em revelar os sistemas de vestuário dos arquétipos equatorianos, como a chulla de Quito - uma personagem que se perdeu no tempo, motiva a presente investigação. Embora exista uma vasta descrição literária, política e sociológica do perso-nagem, é necessário ter uma base que revele e signifique as suas práticas de vestuário, uma vez que o vestuário é um meio de comunicação que vai além de uma imagem estética, uma vez que dá conta de uma referência local. A chulla de Quito, como personagem a ser estu-dada, tem registos históricos que datam do século XVI a meados do século XX. A origem do seu nome provém da palavra indígena quechua “chulla”, que denota algo incompleto e sem equilíbrio. O termo chulla quiteño refere-se a um personagem de classe média, boé-mio e carismático da capital que parece ter muito dinheiro, mas vive com os bolsos vazios e nunca trabalhou, está sozinho e solteiro. Parecia estar bem vestido, apesar de ter apenas um fato. Este estudo visa documentar fontes escritas, literárias e visuais, a fim de cons-truir um imaginário de sistemas de vestuário. A metodologia baseia-se na investigação qualitativa de natureza interpretativa. Baseia-se na investigação arquivística que permitiu a recolha de fontes literárias e visuais através de esculturas, ilustrações e fotografias. A partir da disciplina de design, centra-se num tipo de pesquisa sobre design, uma vez que nos permite recriar o imaginário social do personagem em estudo. Para o processo meto-dológico de catalogação, são considerados a tipologia do arquivo, a tipologia do artefacto, o arquétipo e a fonte. Como resultado parcial, as fontes de análise foram inventadas para concluir com a catalogação dos ficheiros documentais, ficheiros de conteúdo e ficheiros de imagem. Os ficheiros alimentam o Archivo Visual de la Vestimenta Ecuatoriana (AVVE)., El interés por develar los sistemas vestimentarios de arquetipos ecuatorianos como el chulla quiteño –personaje que se ha perdido en el tiempo–, motiva la presente investigación. Aunque existe una vasta descripción literaria, política y sociológica del personaje es necesaria una base que devele y signifique sus prácticas vestimentarias ya que el indumento es un medio de comunicación que va más allá de una imagen estética pues da cuenta de un referente local. El chulla quiteño como personaje de estudio tiene registros históricos que datan desde el siglo XVI hasta mediados del siglo XX. El origen de su nombre proviene del indigenismo quechua “chulla”, que denota algo incompleto carente de balance. El término chulla quiteño elogia a un personaje capitalino de clase media, bohemio y carismático que aparenta tener mucho dinero, pero vive con los bolsillos vacíos y nunca ha trabajado, es solo y soltero. Aparentaba un buen vestir, pese a tener un solo traje. El presente estudio pretende documentar fuentes escritas, literarias y fuentes visuales que permitan construir un imaginario de los sistemas vestimentarios. La metodología se enmarca en una investigación cualitativa de carácter interpretativo. Se apoya en una investigación de archivo que permitió recabar fuentes de tipo literario y visual a través de esculturas, ilustraciones y fotografías. Desde la disciplina del diseño se enfoca un tipo de investigación sobre el diseño, pues nos permite recrear el imaginario social del personaje de estudio. Para el proceso metodológico de catalogación se considera la tipología del archivo, tipología del artefacto, el arquetipo y la fuente. Como un resultado parcial se inventarió las fuentes de análisis para concluir con la catalogación de las fichas documentales, fichas de contenido y fichas de imagen. El fichaje alimenta el Archivo Visual de la Vestimenta Ecuatoriana (AVVE).

While the nation of Ecuador was being built, during the independence process, the character of the “guaricha” emerged, an archetype of a popular class woman, who ac-companied the libertarian troops and who was –although invisibilized– of vital impor-tance for the survival of the soldiers, as she contributed to the libertarian deed. These brave women were also present in different independence troops of Latin American countries, in Colombia they were identified as “juanas”, in Peru as “rabonas” and in Ecuador as “guar-ichas”. The interest in revealing the dress systems of Ecuadorian archetypes such as the guaricha, motivates the present research. The research aims to unveil the clothing systems of the women who participated in the revolutionary days that gave rise to the republican era, as well as to describe the forms and modes of use of the female clothing of this char-acter. The present study aims to document written, literary and visual sources that allow the construction of an imaginary of the guaricha’s clothing systems. The methodology is framed in a qualitative research of interpretative character. Supported by an archival research, which allowed the collection of documentary and visual sources. As a result, it was revealed that the guaricha’s clothing was practical (given the function they per-formed) and ordinary (given their social condition), their clothing needed a way to carry more items to help them in the campaigns, so the use of cloth covers could have been an accessory. The form of the costume responds to a volumetric trapeze silhouette, a costume made up of four pieces: a skirt, shirt, shawl and shawl. The guaricha file feeds the Visual Archive of Ecuadorian Dress: AVVE., Enquanto a nação do Equador estava a ser construída, durante o processo de in-dependência, emergiu o carácter da guaricha, a mulher arquetípica da classe popular, que acompanhava as tropas libertárias e que era –embora invisível– de importância vital para a sobrevivência dos soldados, uma vez que contribuiu para o movimento de libertação. Es-tas corajosas mulheres também estiveram presentes em diferentes tropas independentistas em países da América Latina; na Colômbia foram identificadas como «juanas», no Peru como «rabonas» e no Equador como «guarichas». O interesse em revelar os sistemas de vestuário dos arquétipos equatorianos, como o guaricha, motiva a presente investigação. A investigação visa desvendar os sistemas de vestuário das mulheres que participaram nos dias revolucionários que deram origem à era republicana, bem como descrever as formas e modos de utilização do vestuário feminino desta personagem. Este estudo visa docu-mentar fontes escritas, literárias e visuais que nos permitam construir um imaginário dos sistemas de vestuário do guaricha. A metodologia baseia-se na investigação qualitativa de natureza interpretativa. Foi apoiado pela investigação arquivística, o que permitiu reunir fontes documentais e visuais. Como resultado, foi revelado que o vestuário do guaricha era prático (dada a função que desempenhavam) e ordinário (dado o seu estatuto social), o seu vestuário precisava de uma forma de transportar mais artigos para os ajudar nas suas campanhas, pelo que o uso de capas de pano pode ter sido um acessório. A forma do fato corresponde a uma silhueta volumétrica de trapézio, um fato composto por quatro peças: uma saia, camisa, xaile e xaile. O guaricha faz parte do Arquivo Visual do Vestido Equatoriano: AVVE., Mientras se construía la nación del Ecuador, durante el proceso independista surge el personaje de la guaricha, arquetipo de mujer de clase popular, que acompañó a las tropas libertarias y que fue –aunque invisibilizada– de vital importancia para la su-pervivencia de los soldados, pues contribuyó a la gesta libertaria. Estas valientes mujeres también tuvieron presencia en diferentes tropas independentistas de los países latinoamericanos, en Colombia fueron identificadas como “juanas”, en Perú como “rabonas” y en Ecuador como “guarichas”. El interés por develar los sistemas vestimentarios de arquetipos ecuatorianos como la guaricha, motiva la presente investigación. La investigación pretende develar los sistemas vestimentarios de las mujeres que fueron partícipes de las jornadas revolucionarias que dieron lugar a la época republicana, así también describir las formas y modos de uso de la vestimenta femenina de este personaje. El presente estudio pretende documentar fuentes escritas, literarias y visuales que permitan construir un imaginario de los sistemas vestimentarios de la guaricha. La metodología se enmarca en una investigación cualitativa de carácter interpretativo. Apoyada en una investigación de archivo, que permitió recabar fuentes de tipo documental y visual. Como resultado se develó que la vestimenta de las guarichas eran prácticas (dada la función que desempeñaban) y eran ordinarias (dada su condición social), sus vestiduras necesitaban una forma de llevar más artículos que las ayuden en las campañas por lo que el uso de fundas de tela pudo haber sido un accesorio. La forma del traje responde a una silueta trapecio volumétrica, traje conformado por cuatro piezas que posee: un faldón, camisa, chal y rebozo. El fichaje de la guaricha alimenta el Archivo Visual de la Vestimenta Ecuatoriana: AVVE.

Department: Fashion and Textile Studies: History, Theory, Museum Practice, Advisors: Bloomfield, Nicole, Committee members: Carlson, Brooke, This qualifying paper documents the conservation treatment of a Qing Dynasty Ao (late nineteenth-century Chinese Han women’s robe). The robe is now part of the Graduate Study Collection and is available for research. The first section of this paper looks at the historical context of this style of robe as well as the meaning of the different decorative motifs and embellishments seen on the garment. The second part of the paper is a complete documentation of the condition, treatment proposal, and treatment report. To conclude, this paper assesses the treatment along with an overview of the different ideologies of compensating for loss to justify the treatment options. The research thoroughly discusses the choices that lead up to the decisions made during treatment. The conservation treatments involved included: hand stitched underlay and overlay supports, adhesives, custom dying, and rehousing.

Department: Fashion and Textile Studies: History, Theory, Museum Practice, Advisors: Yanofsky, Anna, Committee members: Davidson, Hilary; Trupin, Deborah; Font, Lourdes; Abrego, Sonya; Matheson, Rebecca, This study examines and explores traditional Kazakh dress and fashion during the nineteenth century – a period of significant cultural and social change in Central Asia. Drawing on a range of historical sources, including ethnographic travel accounts, photographs, and museum collections, and considering the historically nomadic culture of the Kazakh nation, the paper examines the various elements of Kazakh dress and its social, cultural, and economic significance. Discussions follow with respect to the use of natural materials such as wool, leather, and fur, as well as the role of dress in signaling social status and identity. Additionally, this paper provides an overview of the impact of external influences, such as Russian colonization, including under the Soviet Union, on Kazakh dress traditions. The paper observes that despite the challenges posed by external factors, traditional Kazakh dress persisted as a symbol of cultural identity and continuity in the face of rapid change. This project is focused specifically on Kazakh attire, separate from the broader category of Central Asian clothing, and aims to provide more clarity on what distinguishes Kazakh dress from its regional neighbors. As this research project primarily relates to the author’s native country of Kazakhstan, its original contribution and perspective adds to the existing scholarship on this topic, most of which is by Soviet anthropologists and ethnographers and in the Russian language. The paper was written using English, Kazakh, and Russian (including Old Russian) language sources, with some produced in Kazakhstan (including Soviet Kazakhstan). The project aims to deepen knowledge about specifically Kazakh garment traditions for an English-language audience by increasing understanding of this nation’s history, culture and people

The purpose of this study was to better understand how consumers of fast fashion clothing with different shopping motivations consider sustainability during their purchase. The different shopping motivations are hedonic and utilitarian, which are respectively the emotion of shopping and the function of shopping. The main question for this research was “How do consumers of fast fashion clothing with different motivations (hedonic or utilitarian) consider sustainability during their purchase?” This qualitative research made use of 11 focus groups and a total of 44 participants to obtain in-depth data. The participants were divided into whether their main shopping motivation was hedonic, or utilitarian based on how they answered specific questions. The answers from both groups were compared with each other to find possible differences. When weighing the evidence and conclusions from the research, it appears relatively likely that there are no significant differences between consumers with a hedonic main shopping motivation and consumers with a utilitarian main shopping motivation. This leads to the conclusion of the main question, which is that there is no difference in how consumers of fast fashion clothing with different motivations consider sustainability during their purchase.

Through ethnographic analysis, this thesis investigates the ways in which North American women seek and experience different modes of comfort through their clothing. The material is drawn from a market research study that employs qualitative methods with a spectrum of women across the United States and Canada. Framed by Bourdieu’s practice theory and Latour’s actor- network theory, the text problematizes how the structure of a pre-determined habitus can be revealed through women’s clothing choices. It highlights the contradictory messages that North American society pushes out to women, and the resulting contradictions of women’s desires and actions that are reflected in their clothing. The analysis suggests that modes of comfort can be organized into four thematic groups: spatial, communal, culturally appropriate, and true. These types of comfort can be used as cultural capital in exchange for power and social mobility. The study outlines how women navigate social life through clothing and attempt to stretch the boundaries of a systematic habitus, but ultimately make choices that keep them within it.

Repairing is one of the alternative business alternatives at the end-of-life phase of clothing, that is seen to be a potential solution for the biggest challenge that the fashion industry faces today - waste. The purpose of this research is to extend our collective understanding of consumers’ value in clothes that lead to their willingness to keep a garment in use for longer. It then identifies how brands could adapt their strategy based on this understanding to better involve consumers to promote the use of clothes repair. A quantitative research design was applied using a consumer survey. The survey questions were designed according to the subjects that emerged from the literature review to answer the presented research questions. The most significant cognitive factors affecting consumers’ repair attitude and behaviour arising from the findings are emotional attachment, product properties such as quality, fashion leadership, subjective norms and awareness of the environmental impact of repair. Demographic factors of age, gender and income group moderate the impact of these factors and are useful to narrow down the strategy for the brand’s target consumers. The communication, cost, service convenience and service quality are determined to be the dominant factors in the strategy for brands offering repair service.

The phenomena of international productive fragmentation and global value chains imply the redefinition of the notion of competitiveness from an articulated point of view. Competitive advantages are determined by the position occupied in relation to the inter-industrial structure and the specific geographical articulation. This paper analyses the growth of the textile sector, disaggregating it into two subsectors that are positioned differently in the industry as a whole: fabric manufacturing and clothing. The results show that their different behaviour derives from the different position occupied in the chain and that the specific institutional framework has conditioned their business performance., Los fenómenos de la fragmentación productiva internacional y las cadenas globales de valor implican la redefinición de la noción de competitividad desde un punto de vista articulado. Las ventajas competitivas están determinadas por la posición ocupada en relación con la estructura interindustrial y la articulación geográfica específica. En este trabajo se analiza el crecimiento del sector textil desagregándolo en dos subsectores que se sitúan de forma distinta en el conjunto de la industria, la fabricación de tejido y la confección. Los resultados muestran que su diferente comportamiento deriva de la distinta posición ocupada en la cadena y que el marco institucional específico ha condicionado sus desempeños comerciales.

The interest in fashion has increased over the last century, steadily in recent decades, in particular, from the 1980s when it was created in Argentina through the University of Buenos Aires (UBA) career Clothing and Textile Design, with an innovative professional and academic profile, with distinctly autochthonous styles. This milestone meant that, in the early 1990s, students interested in the fashion area had the opportunity to have an academic offer whose distinctive value lies in academic training, in an area until then specific to professional work. In this sense, the student, being in the professional field, required academic skills and knowledge, organization, analysis and systematization of data, problem solving and methods that give him new perspectives in the development of his future as a professional and the possibility of building open and global theoretical knowledge. In addition, this university academic opening in the area of fashion favored the installation of debates around the various themes stories, linked to clothing design and other spheres of praxis., O interesse pela moda tem aumentado ao longo do último século, de forma constante nas últimas décadas, em particular, a partir da década de 1980, quando foi criada na Argentina através da Universidade de Buenos Aires (UBA) carreira de Vestuário e Design Têxtil, com um perfil profissional e acadêmico inovador, com estilos nitidamente autóctones. Esse marco fez com que, no início da década de 1990, os estudantes interessados na área da moda tivessem a oportunidade de ter uma oferta acadêmica cujo valor distintivo reside na formação acadêmica, em uma área até então específica para o trabalho profissional. Nesse sentido, o aluno, estando no campo profissional, exigiu habilidades e conhecimentos acadêmicos, organização, análise e sistematização de dados, resolução de problemas e métodos que lhe dão novas perspectivas no desenvolvimento de seu futuro como profissional e a possibilidade de construção de conhecimentos teóricos abertos e globais. Além disso, essa abertura acadêmica universitária na área de moda favoreceu a instalação de debates em torno das diversas temáticas histórias, ligadas ao design de roupas e outras esferas da práxis., El interés por la moda se ha incrementado a lo largo del último siglo, de manera constante en las últimas décadas, en particular, a partir de la década de 1980 cuando se creó en la Argentina a través de la Universidad de Buenos Aires (UBA) la carrera de Diseño de Indumentaria y Textil, con un innovador perfil profesional y académico, con estilos netamente autóctonos. Este hito hizo que, en los primeros años de 1990, los estudiantes interesados en el área moda tuvieran la oportunidad de contar con una oferta académica cuyo valor distintivo radica en la formación académica, en un área hasta entonces específica del hacer profesional. En este sentido, el estudiante, al encontrarse en el ámbito profesional requería de habilidades y conocimientos académicos, de organización, análisis y sistematización de datos, de resolución de problemas y métodos que le brindan nuevas perspectivas en el desarrollo de su futuro como profesional y la posibilidad de construcción de conocimiento teórico abierto y global. Además, esta apertura académica universitaria en el área de la moda favoreció la instalación de debates en torno a los diversos temas relatos, vinculados con el diseño vestimentario y otras esferas de la praxis.

Industry 4.0 or the fourth industrial revolution, consists of the digitization of industrial processes through the interaction of artificial intelligence. It brings not only improvements in production, but also cuts across social and environmental spheres. In this paper, using trend analysis as a tool, the current situation of industry 4.0 and its relationship with sustainable design in clothing is analyzed. The transition towards smarter industries enables greater efficiency in all production processes. In relation to traditional industries, this new positioning with a view to technological growth broadens the horizon of the concept of sustainability., A Indústria 4.0 ou a quarta revolução industrial, consiste na digitalização dos processos industriais por meio da interação da inteligência artificial. Traz não só melhorias na produção, mas também perpassa as esferas social e ambiental. Neste artigo, utilizando como ferramenta a análise de tendências, analisa-se a situação atual da indústria 4.0 e sua relação com o design sustentável no vestuário. A transição para indústrias mais inteligentes permite maior eficiência em todos os processos produtivos. Em relação às indústrias tradicionais, esse novo posicionamento com vistas ao crescimento tecnológico amplia o horizonte do conceito de sustentabilidade., La industria 4.0 o cuarta revolución industrial, consiste en la digitalización de los procesos industriales mediante la interacción de la inteligencia artificial. Trae no sólo mejoras en la producción, sino que atraviesa esferas sociales y medioambientales. En este trabajo, utilizando el análisis de tendencias como una herramienta, se analiza la situación actual de la industria 4.0 y su relación con el diseño sustentable en indumentaria. La transición hacia industrias más inteligentes posibilita una mayor eficiencia en todos los procesos de la producción. En relación a las industrias tradicionales, este nuevo posicionamiento con vista a un crecimiento tecnológico amplía el horizonte del concepto de sustentabilidad.

Gender studies and feminist movements question the gender condition, taking into account that gender differences are not natural but are socially constructed, especially the inequality between female and male identities in heteropatriarchal society. Identities are individual and collective beliefs and thought systems that are manifested through signs, visible or invisible markers. One of the most important is the ornament, which is the set of clothing and accessories, makeup, hairstyle, tattoo or piercing. Each person uses the dress to show themselves and communicate with other individuals. From queer theory, the issue of identities and their relationship with clothing and fashion is raised. Starting from this theoretical basis and social reality, this paper wants to offer a response to the current debate on gender inequality and new identities from the Barcelona Design Museum; building a reinterpretation of the history of fashion from a gender perspective, to propose a new permanent exhibition at the Museum. The writing reviews a new social history of fashion up to the present, in which a growing number of designers and fashion companies raise gender issues as the essence of the brand or marketing strategy. In these cases, new methods are adopted to make the body shape invisible with oversize models without the need to resort to traditional pattern making. This is how it is possible to promote and optimize new patterns, on men’s and women’s garments indistinctly, Os estudos de gênero e os movimentos feministas questionam a condição de gênero, levando em consideração que as diferenças de gênero não são naturais, mas construídas socialmente, especialmente a desigualdade entre as identidades feminina e masculina na sociedade heteropatriarcal. Identidades são crenças e sistemas de pensamento individuais e coletivos que se manifestam por meio de signos, marcadores visíveis ou invisíveis. Um dos mais importantes é o enfeite, que é o conjunto de roupas e acessórios, maquiagem, penteado, tatuagem ou piercing. Cada pessoa usa o vestido para se mostrar e se comunicar com outras pessoas. A partir da teoria queer, levanta-se a questão das identidades e sua relação com o vestuário e a moda. A partir desta base teórica e realidade social, este artigo pretende oferecer uma resposta ao atual debate sobre desigualdade de gênero e novas identidades do Barcelona Design Museum; construindo uma reinterpretação da história da moda a partir de uma perspectiva de gênero, para propor uma nova exposição permanente no Museu. A escrita analisa uma nova história social da moda até o presente, na qual um número crescente de estilistas e empresas de moda colocam as questões de gênero como essência da marca ou estratégia de marketing. Nesses casos, novos métodos são adotados para tornar as formas do corpo invisíveis com modelos oversize sem a necessidade de recorrer à modelagem tradicional. Assim é possível promover e otimizar novos padrões, em peças masculinas e femininas indistintamente., Los estudios de género y los movimientos feministas cuestionan la condición de género, teniendo en cuenta que las diferencias de género no son naturales sino que están construidas socialmente, especialmente la desigualdad entre identidades femeninas y masculinas en la sociedad heteropatriarcal. Las identidades son creencias y sistemas de pensamiento individuales y colectivos que se manifiestan a través de signos, marcadores visibles o invisibles. Uno de los más importantes es el ornamento, que es el conjunto de vestido y complementos, maquillaje, peinado, tatuaje o piercing. Cada persona utiliza el vestido para mostrarse y comunicarse con otros individuos. Desde la teoría queer se plantea el tema de las identidades y su relación con el vestido y la moda. Partiendo de esta base teórica y de la realidad social, el presente escrito quiere ofrecer una respuesta al debate actual sobre desigualdad de géneros y nuevas identidades desde el Museo del Diseño de Barcelona; construyendo una reinterpretación de la historia de la moda desde la perspectiva de género, para plantear una nueva exposición permanente en el Museo. El escrito revisa una nueva historia social de la moda hasta la actualidad, en la cual un número creciente de diseñadores y de empresas de moda plantean temas de género como esencia de la marca o estrategia de marketing. En estos casos, se adoptan nuevos métodos para invisibilizar la forma del cuerpo con modelos oversize sin la necesidad de recurrir a un patronaje tradicional. Así es como se logran fomentar y optimizar nuevos patronajes, sobre prendas masculinas y femeninas indistintamente.

Diachronic studies on the dress systems of the western costume have been deepened in the discipline of design. This situation differs for the non-western costume and specifically for the Latin American dress, since there are still few and minimal studies that address the Ecuadorian regional costume, while history corroborates that in Quito, capital of Ecuador, various human types were visible. Thus, the American nations began to generate their own identities, and one way of doing so was through their clothing. For this reason, the present research aims to construct the imaginaries of the clothing systems of the chola pinganilla. From this perspective, elucidating the imaginaries of the clothing systems allows to vivify the patrimonial memory implicit in one of its elements: the dress. Hence, the interest in unveiling the dress systems of Ecuadorian archetypes such as the chola pinganilla motivates the present research. The methodology is framed in a qualitative research of interpretative character, supported by an archival research that allowed gathering literary and visual sources through illustrations and prints, a historical and literary representation was established, in addition to a visual representation as well as a representation from the design. As a result, the clothing imagery is constructed based on three systems: body, clothing and context. The body as the bearer of the clothing, was framed in a territory of experience that placed the chola pinganilla as a mestizo woman and a woman of the people. The trades she performed as a dressmaker, embroiderer, saleswoman and cook, earned her a reputation as an industrious woman, with an attire composed of four pieces: skirt, shirt, shawl and shawl. The analyzed clothing systems feed the Visual Archive of Ecuadorian Clothing, a digital platform created as a space of interpretation for the historical and social memory of the Ecuadorian costume., Foram realizados estudos diacrónicos sobre os sistemas de vestuário do traje ocidental em profundidade na disciplina do design. A situação difere para o traje não ocidental e especificamente para o traje latino-americano, uma vez que ainda há poucos e mínimos estudos que tratam do traje regional equatoriano, enquanto a história corrobora que em Quito, a capital do Equador, diversos tipos humanos foram tornados visíveis. Assim, as nações americanas começaram a gerar as suas próprias identidades, e uma forma de o fazer foi através dos seus trajes. Por esta razão, o objectivo desta investigação é construir os imaginários dos sistemas de vestuário da chola pinganilla. Nesta perspectiva, elucidar os imaginários dos sistemas de vestuário permite-nos vivificar a memória patrimonial implícita num dos seus elementos: o vestido. Daí o interesse em revelar os sistemas de vestuário dos arquétipos equatorianos, como a chola pinganilla, motiva a presente investigação. A metodologia está enquadrada numa pesquisa qualitativa de carácter interpretativo, apoiada por uma pesquisa de arquivo que permitiu a recolha de fontes literárias e visuais através de ilustrações e gravuras, foi estabelecida uma representação histórica e literária, para além de uma representação visual, bem como uma representação do desenho. Como resultado, as imagens do vestuário são construídas com base em três sistemas: corpo, vestuário e contexto. O corpo, o portador do vestuário, foi enquadrado num território de experiência que colocou a chola pinganilla como uma mulher mestiça e uma mulher do povo. Os ofícios que exerceu como costureira, bordadeira, vendedora e cozinheira fizeram-lhe ganhar a reputação de mulher industriosa, com uma roupa composta por quatro peças: saia, camisa, xaile e xaile. Os sistemas de vestuário analisados alimentam o Archivo Visual de la Vestimenta Ecuatoriana, uma plataforma digital criada como espaço de interpretação para a memória histórica e social do traje equatoriano., Estudios diacrónicos sobre los sistemas vestimentarios del traje occidental han sido profundizados en la disciplina del diseño, situación que difiere para el traje no occidental y, específicamente, para el vestido latinoamericano. Son pocos y mínimos aún los estudios que abordan el traje regional ecuatoriano, mientras que la historia corrobora que, en Quito, capital de Ecuador, se visibilizaron diversos tipos humanos. Así, las naciones americanas comenzaron a generar sus propias identidades, y una forma de hacerlo fue a través de sus vestimentas. Por ello, la presente investigación tiene como objetivo construir los imaginarios de los sistemas vestimentarios de la chola pinganilla. Desde esta perspectiva, dilucidar los imaginarios vestimentarios permite vivificar la memoria patrimonial implícita en uno de sus elementos: el vestido. De ahí que el interés por develar los sistemas vestimentarios de arquetipos ecuatorianos como la chola pinganilla motive la presente investigación. La metodología se enmarca en una investigación cualitativa de carácter interpretativo, apoyada en una investigación de archivo que permitió recabar fuentes de tipo literario y visual a través de ilustraciones y estampas. Se estableció una representación histórica y literaria, además de una representación visual, así como una representación desde el diseño. Como resultado, los imaginarios vestimentarios se construyen basados en tres sistemas: cuerpo, indumento y contexto. El cuerpo portador de la vestimenta se enmarca en un territorio de vivencia que ubica a la chola pinganilla como mujer mestiza y de pueblo. Los oficios que desempeñó, como modistilla, bordadora, vendedora y cocinera, la hicieron acreedora de una reputación como mujer industriosa, con un atuendo compuesto de cuatro piezas: faldón, camisa, chal y rebozo. Los sistemas vestimentarios analizados alimentan el Archivo Visual de la Vestimenta Ecuatoriana, una plataforma digital creada como un espacio de interpretación para la memoria h

In Spain Women’s poetry of the 1920s was initially marginalized and then forgotten by the literary canon. This historical context serves as a background to understand the significance of the women poets who succeeded in opening poetic spaces to represent themselves. The study focuses on clothing, first as a language through which new modern women announce their transformation to society and second as how two poets, Josefina de la Torre (1907-2002) and Concha Méndez (1898-1986), incorporate the semiotics of clothing into their poetry and create original images that include references to dress. Both textual strategies permit the poets to represent women’s experiences and subjectivity, En España la poesía de autoría femenina de los años veinte vivió inicialmente una marginalización y luego un olvido en el canon literario. Este contexto histórico sirve de fondo para apreciar mejor el logro de las poetas de abrir un espacio en el discurso poético para representarse a sí mismas. El estudio se centra en la vestimenta, primero como un lenguaje a través del cual la mujer moderna anuncia su transformación a la sociedad. Se analiza luego cómo dos poetas, Josefina de la Torre (1907-2002) y Concha Méndez (1898-1986), incorporan la semiótica de la indumentaria en sus poemas y crean imágenes originales con referencias a las prendas. Ambas estrategias textuales les permiten a las poetas representar las experiencias y la subjetividad femeninas.