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    Colonial textile culture in mid-nineteenth century Aotearoa New Zealand : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History at Massey University, Manawatū, New Zealand
    (Massey University, 2020) McKergow, Fiona Mary
    Historians are increasingly paying attention to the intersections between objects, people and places as an aspect of the social and cultural histories of settler colonial societies. This thesis investigates selected textiles of British migrant and settler women in Aotearoa New Zealand as an element of what is defined here as ‘colonial textile culture’. It draws on the collections of mid-nineteenth century clothing and textiles held at two provincial museums in the lower North Island of New Zealand: Te Manawa Museum of Art, Science and History, in Palmerston North, and Whanganui Regional Museum, in Whanganui. Colonial textile culture is examined through six surviving objects associated with migrant women of English, Irish and Scottish ethnic origin. These are presented as part of a wider re-evaluation of textiles in colonial cultural history. A set of journals, a mourning sampler and a workbox allow insights into the more personal aspects of textile culture, while a silk wedding dress, a battle flag and a straw bonnet reflect its more public dimensions. Many of these are revealed to be highly emotional objects, in addition to their sensory dimensions, that were essential to the making of relationships, identities and experiences. The concept of colonial textile culture encapsulates the ways in which textiles in mid-nineteenth century Aotearoa New Zealand variously created and sustained family memories; contested and reinforced notions of social class; related to both feminine and masculine identities; and served as a site of interaction between British migrant and settler women and Māori communities. Colonial textile culture was also a source of commercial opportunity for some women. Finally, it was part of a wider circulation of commodities, ideas and practices throughout the British Empire that provided an underpinning to the extension of settler colonialism.
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    Kimono unfolded and reimagined : an exploration of Japanese aesthetics in Western fashion design : a thesis presented in partial fulfilment of the requirements for a Master in Design at Massey University, Wellington, New Zealand
    (Massey University, 2019) Maruyama, Yoshino
    Fashion is a strong visual language that transcends cultures, and in this globalised era, has increasingly become a place of conflict and contemplation. As a New Zealand born designer with Japanese heritage, cross cultural design, cultural misrepresentation and appropriation have become topics of interest in my fashion practice. Japonism, a late nineteenth century aesthetic movement affected the arts throughout Western culture. It opened up new design concepts to early twentieth century European fashion designers, and continues to influence contemporary fashion houses in the twenty-first century. In order to gain an insight into how Japanese fashion design is perceived by Western society, this research project looks into Japanese aesthetic principles and their impact on contemporary fashion. Late twentieth century Japanese designers Issey Miyake, Yohji Yamamoto and Rei Kawakubo in addition to contemporary fast fashion brands such as Uniqlo have made their break into the Western market in an age where consumers are becoming more aware of the social and environmental impacts of fashion. The Japanese kimono continues to be worn and adapted by many people around the world and has also been a source of inspiration for many artists and designers. In this research project, the silhouette and structural form of the kimono are analysed alongside autoethnographic research methods, reflective practice, iterative design and sustainable design methods. These concepts are translated into Kiru, a contemporary fashion collection.
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    Lolita Latina : an examination of Gothic and Lolita style in the Mexican environment : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Visual and Material Culture, College of Creative Arts, Massey University, Wellington, New Zealand
    (Massey University, 2019) Hardy Bernal, Kathryn Adèle
    This thesis, completed for the award of Doctor of Philosophy in Visual and Material Culture, Ph.D., examines the development of the fashion-based Mexican Gothic and Lolita movement, and its evolution from its subcultural Japanese roots. It asks, “What are the cultural conditions that encourage this movement to flourish in the Mexican environment?” In turn, “What does Mexican culture contribute to Mexican Gothic and Lolita style?” And, “What does Mexican Gothic and Lolita style say about Mexican culture, society, and beliefs?” The Gothic and Lolita movement is currently thriving in Mexico as an authentic, independent, creative, handmade fashion industry, yet to be co-opted into mainstream culture. With the do-it-yourself aspect of the movement comes its own, unique, cultural flavour. As such, it transforms and rearranges meanings of the original subcultural style in order to make new statements, which subvert the meanings, and understandings, of the Japanese Lolita identity. Analyses of Mexican Gothic and Lolita styles, in context with the Mexican environment, culture, and belief systems, as well as the operation of the Mexican Gothic and Lolita industry, are major focal points of this study. Also investigated are the ways the movement reflects, fits into, and departs from, the philosophies of the original subculture, especially regarding sociocultural and gender politics. These latter aspects are critiqued in context with “normative” gender positions, roles and hierarchies, within mainstream Japanese and Mexican societies.
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    Modularity in apparel production : an industry-integrated investigation : Master of Design exegesis, Massey University, Wellington, New Zealand
    (Massey University, 2019) Hoori, Te Paea
    The central focus of this project, as outlined in the industry brief, is to develop the workflow and manufacturing capabilities of the apparel company Kapinua, through expansion of the brand’s 3D-integrated, customer driven, e-commerce platform. Based in Levin, New Zealand, Kapinua is a vertically-integrated manufacturing and retailing company. Specialising in made-to-order (MTO) digitally printed garments, Kapinua have developed an online platform that allows its users to select and customise garments from their web browser. With the support of New Zealand government organisation Callaghan Innovation, Kapinua wishes to expand, develop and refine this digital asset. Through iterative design practice, analysis of Kapinua’s systems and processes, reflective documentation, and literary research, this work looks to explore possible applications of customisation and modularity in the production of apparel. Informed by client needs, the primary project outcomes are relevant sizing charts informed by parametric research; grading rule tables; modular pattern templates; a library of products prepared for Kapinua’s 3D-integrated, online platform; and a structured filing system to organise and access digital assets. Further objectives include improved efficiency through workflow streamlining and early iterations of resources designed to assist with future product development within the company. More broadly, this research poses the question: How can digital technologies help create economically-viable, structurally customisable patterns - and how can this increase customer satisfaction, garment fit, and improve the way we engage with clothing?
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    The new costume designer : an exploration of digital and physical technologies for costume development in the film industry : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, College of Creative Arts, Wellington, New Zealand
    (Massey University, 2019) Lewis, Jessica
    Three-dimensional (3D) simulation software is utilised for digital visualization of garment design, pattern development, drape, and fit on virtual models and avatars within the costume and fashion industries. This practice-led project explores the use of digital design technologies for costumes created in a digital space and asks “How do current digital and physical technologies work as integrated practice within the industry of costume design for film?” From a fashion perspective, many researchers have looked into how historical costumes can be reproduced as accurate 3D models or how 3D modelling software can be used for prototyping and fit for production efficiency. However, there is little published academic research discussing the use of digital technologies by costume designers for physical costume design and development in the film industry. Initial research for this project included interviews with experts from physical costume design departments in the film industry to gain insight as to the extent and relevance of collaborative work experiences using both physical and digital processes, systems and technologies within their practice. Through an original creative project using an iterative design process, this research project focuses on the generation of physical costume concepts for a fantasy creature. These costumes are designed to tailor to the exaggerated humanoid body of the “koloss” character from Brandon Sanderson’s Mistborn: Era 1 series as he morphs from a child to an adult. This project explores how patternmaking and 3D cloth simulation software can be applied to costume generation that navigates the physical and virtual world. Digital and physical visual, patternmaking, and sampling tools are utilised with tacit knowledge of an experienced technical fashion designer to explore how physical costume designers can feel empowered in the creative process when working between physical and digital departments.
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    Fashioning identities : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Sociology at Massey University
    (Massey University, 1993) Green, Nicola Catherine
    This research addresses the way in which individual and collective identities are constructed through fashions in the contemporary western world. The reciprocal and interdependent relationship of processually emergent identities, and fashion as a system of cultural representation, is initially established. The argument maintains that certain theoretical explanations of fashion have marginalised this component of the fashion process, and the aim of the thesis is to place the often contradictory junctures of fashions and identities in positions of central importance in the consideration of fashion dynamics. The argument critically reviews different feminist explanations of fashion, and the implications these have for feminist debates around gender and gender identity. The thesis further examines the sociological debates around modernism and postmodernism, and evaluates the contributions of this debate for both the study of fashion, and feminist understandings of identities. The research concludes that contemporary theoretical shifts in the investigation of fashions and identities are the fruition of a 'long revolution' in sociological theory and practice, which indicate important developments for the future resolution of critical problems in the theory of style and politics.
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    Blue dance of two : exploring ontology through making and wearing blue dresses : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts with Design endorsement at Massey University, Wellington, New Zealand
    (Massey University, 2014) Barton, Alexandra
    The blue dress is dancing just by being. I want to dance with the blue dress; to do a pas de deux (dance for two). I am pursuing alternative modes of interaction with clothing. In this exploration I look to my direct experiences with five blue dresses in order to understand the ontological positioning of my own subjective being. Further (and more radically), informed by the contemporary philosophical theory Object Oriented Ontology, I engage in the processes of making and wearing garments to accrue evidence that clothing too ascertains a mode of being.