Development of a Tool for Team Formation in Engineering Education

Efficient team formation presents challenges both for the industry and the academia, especially among first year students. In academia, the difficulty is due to a lack of familiarity between instructors and new students at the beginning of each semester while in the industry, the issue is the incomplete picture of new employee’s personality by the supervisors. The quality of the team greatly affects both the team member experience as well as the outcome of assigned projects. There is a strong need to create a tool or a program that allows instructors and supervisors to create effective teams with evenly distributed skills amongst the teams in a timely fashion. Studies show that the balance of skills, rather than the presence of highly skilled individuals, leads to successful teams. The ultimate goal is to create a tool that will give teams the opportunity to operate at their maximum potential. This paper focuses on the creation of teams for first year students of engineering. The outcome is based on the results of a project assigned to a team of second year engineering students. The choice of second year students was dictated by the need to have students who had already experienced the adverse effects of malfunctioning teams during their previous projects. The goal of the project was to design a software and user interface for a tool that instructors could use to create optimal project teams in an efficient manner.

Analysis of Society Perspective about Vintage Fashion Using Deconstruction Approach

Nowadays, society perspective about vintage fashion as old-fashioned can be changed. This study aims to discuss the alteration perspective of society about vintage fashion. This discussion is conducted to see the other side of vintage fashion. This research is different from other fashion studies because it wants to show how to view the value of a fashion not in general way, especially using deconstruction approach. This study used qualitative methods in the form of interviews to get the data. The interviewees of this research were four young women who like to follow fashion development through social media. Their opinions are used as society representatives about vintage fashion. It will be connected with the theory of deconstruction like 'Differance.' In this case, people's perspective on vintage fashion changes due to the influence of influencers from various social media so that vintage fashion can be juxtaposed with modern style today. Therefore, vintage can get an identity as nowadays's clothes.

Accumulating capital through social media: the transformative power of underrepresented fashion consumers

Purpose Previous research in sociology, psychology and fashion studies has investigated the concept of diversity in the fashion context, but the topic remains largely understudied within the realm of consumer research. This study aims to examine the reactions of underrepresented women to the fashion industry’s lack of diversity. Design/methodology/approach A total of 38 semi-structured in-depth interviews were conducted among a sample of female consumers who were diverse with respect to racial and ethnic background, socioeconomic class, religion, sexual orientation, age, body type and physical appearance. Findings Using Bourdieu’s forms of capital – social, cultural, economic and symbolic – the findings shed light on the process of virtual community formation on social media in response to the lack of diversity in fashion; reveal fashion consumers’ power to enact institution-level change, compelling the industry to become more diverse and inclusive; demonstrate the outcomes of capital accumulation and illustrate how all forms of capital are produced by and reproduce each other. Originality/value This study proposes a new outcome of capital accumulation on virtual communities, termed “transformative value,” in addition to the social and information values identified in earlier scholarship.

Sensibilidades queer en la exposición Camp: notes on fashion (2019). Una cita con Sontag en el Metropolitan Museum of Arts

Han pasado ya casi seis décadas desde que en 1964 Susan Sontag publicara «Notes on Camp», reivindicando la atención hacia una sensibilidad estética que históricamente había sido reprimida y perseguida. Aunque ha sido referenciado en los estudios culturales académicos como un concepto esquivo, aquello que Sontag denominó «camp» se extendió como un marco interpretativo en una gran parte de las formas de expresión artística y cultural, revelándose como una estética compleja cuya naturaleza política desafiaría el status quo de la normalización y normatividad de las sociedades occidentales. Caracterizada por romper los equilibrios entre el arte elevado y el abrazo a la cultura popular, la compleja y descarada estética camp ha sido de inspiración para múltiples producciones culturales de las últimas décadas, haciendo alarde de modos distintos de habitar los espacios, de entender el cuerpo y la interacción social desde la subalternidad, la ironía, el artificio, la teatralidad y la exageración, asuntos asociados a las identidades homosexuales en un primer momento. Sin embargo, el montaje de la exposición en el año 2019 con el nombre Camp: Notes on Fashion en el Metropolitan Museum of Arts de Nueva York plantea interesantes lecturas sobre la evolución del concepto, las nuevas relaciones de la vestimenta con la identidad de género y la apertura de las prácticas museísticas a las ideologías que promueven la representación disidente, realizando distintos despliegues a través de merchandising y planteando interesantes debates sobre los formatos de performatividad de los fashion studies.

Fabulous Adventures of Alice with Fashion, Science, and Pinocchio

The three scholarly monographs published between 2017 and 2020 by Laura White, Laura Tosi and Peter Hunt, and Kiera Vaclavik, are recent contributions to Lewis Carroll scholarship. They belong to what Michael Heyman calls “the sense school” of nonsense literary criticism in so far as they attribute a specific agenda, a systematic structure, a decipherable message, and a homogenised reading to the Alice tales (Alice’s Adventures in Wonderland, and its sequel, Through the Looking Glass). Each re-explores a well-known children’s classic from fresh new perspectives by relying on interdisciplinary methodologies, mingling the literary historical approach with insights of critical fashion studies, evolutionary biology, and comparative cross-cultural analysis (translation studies), respectively. Like adaptations, these critical theoretical interpretations of the Alice books are in a constant dialogue with one another within a Genettian transtextual network of multimodal narratives.

Fashioning The Crazy Ex Girlfriend: Costume Design As Mad Resistance In The Post Network Era

Until the relatively recent proliferation of feminist criticism, television studies and fashion studies have both been marginalized as frivolous and unimportant. Mental health research, now known within Disability Studies as Mad Studies, considers alternative methodologies rooted in anti-oppression against the representation of madness on television. These various fields, particularly research on madness, have been hidden discourses—whether feared (disability) or gendered feminine and therefore identified as non-consequential (fashion and television). Within these areas of research, intersectional perspectives have been neglected, which has allowed popular culture to perpetuate tired tropes and stereotypes in relation to the way mad individuals have been depicted, written, and importantly, costumed. I unpack these complexities through Crazy Ex-Girlfriend (2015–2019) as a subversive example of costume design’s resistant possibilities. I analyze pivotal themes in the series by putting episode scenes, specific ‘looks,’ and an original interview with costume designer Melina Root into dialogue. Ultimately, as I argue, fashion on television, with its rising budgets and production quality, is complicit in the construction of on-screen female identities, particularly in regards to problematic ‘crazy woman’ tropes and othering representations of madness.

Fashioning The Crazy Ex Girlfriend: Costume Design As Mad Resistance In The Post Network Era

Until the relatively recent proliferation of feminist criticism, television studies and fashion studies have both been marginalized as frivolous and unimportant. Mental health research, now known within Disability Studies as Mad Studies, considers alternative methodologies rooted in anti-oppression against the representation of madness on television. These various fields, particularly research on madness, have been hidden discourses—whether feared (disability) or gendered feminine and therefore identified as non-consequential (fashion and television). Within these areas of research, intersectional perspectives have been neglected, which has allowed popular culture to perpetuate tired tropes and stereotypes in relation to the way mad individuals have been depicted, written, and importantly, costumed. I unpack these complexities through Crazy Ex-Girlfriend (2015–2019) as a subversive example of costume design’s resistant possibilities. I analyze pivotal themes in the series by putting episode scenes, specific ‘looks,’ and an original interview with costume designer Melina Root into dialogue. Ultimately, as I argue, fashion on television, with its rising budgets and production quality, is complicit in the construction of on-screen female identities, particularly in regards to problematic ‘crazy woman’ tropes and othering representations of madness.

What is ‘space’ for dress? Theoretical considerations of a spatial turn for fashion studies

This article seeks to contribute to the increasing body of fashion scholarship focused on space. Along with a spatial turn in human and social sciences, it is increasingly recognized by fashion researchers that spaces and places of fashion matter – but it is less discussed how a theoretical framework could be created to explore these. Thus, a Lefebvrian spatial analysis is considered here. The approach suggested recognizes that dress is fundamentally political, as is the space which it inhabits. Dressed bodies are subject to hegemonic ideologies, but individuals have the power to resist these, too. Some parameters of a spatialized fashion sociology and what benefits such an approach can bring for fashion scholarship more generally are considered. Dress should be understood as spatial practice, which in its turn creates spaces and realities, too. Such a framing allows for analysis of various spaces dressed bodies move through, and of how garments operate in these. Furthermore, it allows for extending the analysis by following garments through their whole life cycle, exploring the different kinds of spaces they enter. Such an approach has the potential for overcoming some persistent biases inherent in fashion scholarship, which tends to focus more on the ‘core’ than the ‘periphery’ locations of fashion.