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Faculty of Arts and Design

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    Analysing Instagram pages of South African fashion models with Vitiligo using multimodal communication for a practice-based study
    (2023-03-01) Sarupdeo, Emilia; Mchunu, Khaya Jean; Rapeane-Mathonsi, Maleshoane
    An increase in fashion models with vitiligo are observed from the sharing of representations of themselves and the skin condition on multimodal forms of communication on social media platforms, notably Instagram. The study is located in fashion and focuses on vitiligo that has been widely discussed in the medical field. Vitiligo is a skin condition where the deterioration of melanocyte cells lead to white patches that present in various areas of the body (Vallerand et.al 2019: 1371). The significance of this study is to understand the representations led by fashion models with vitiligo and to join them by using my profession as a fashion designer with vitiligo to shift the beauty narrative through inclusivity and raising awareness about the skin condition. The study is framed by a multimodal discourse analysis and specifically a four-step analytical process of modal transfer (Kress 2000 and 2010). This frame is used to focus on how fashion models with vitiligo use multimodal communication in the form of photographs, captions, and hashtags to communicate themselves, as people with vitiligo through their public Instagram pages. This form of communication is argued to be their practice of challenging and expanding accepted notions of beauty. An analysis is followed by a practical component framed by Sullivan’s (2010) and Skains (2018: 86) creative practice as research. The study results show how the models have represented themselves and their skin condition. Some posts touch on themes that seek to shift the narrative and expand notions of beauty. They share perspectives on inclusivity and diversity, self-love, self-affirmation, body-positivity, perceptions of the gaze, and what should not be regarded as fashion trends. Optimism expressed by such themes resulted as psychological healing and promotes good mental health towards the incurable skin condition. I designed a body of fashion artefacts for this practice-based study as my contribution to using fashion as communication to shed light on vitiligo and body positivity. A new Instagram page has been created to display the practical collection through my own use of multimodal communication. This process has resulted in 6 fashion artefacts that use hashtags as titles to speak about vitiligo. The fashion artefact collection celebrates inclusivity and diversity, depicts the types of formation which vitiligo presents in, and concludes by perceiving all as beauties, expressed in both in practice and theory.
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    'Swag' : an ethnographic study of izikhothane fashion identity
    (2018) Memela, Busisiwe Sanelisiwe; Madhoo-Chipps, Nirma Dolly; Gaede, Rolf
    Skhothane is defined by ostentatious performances that involve dance, ‘dissing’ and flamboyant dress. The following study identifies and analyses the neo-tribe’s fashion codes in order to understand more thoroughly how and why these are constructed as well as to shed light on subcultural phenomena in South African township culture. The idea of neo-tribes such as skhothane and hip-hop being counterculture has become challenged by the increasing influence of mass culture on the youth -especially in post-apartheid South Africa, where media dictates on lifestyle and identities are continually evolving. This qualitative research project aims at uncovering the stylistic nuances of the Skhothane neo-tribe. It further maps out the factors that inform how the members negotiate and express their identity using fashion. In this respect, phenomenological epistemology was appropriate as it lent itself to the deep inquiry into the culture’s identity from the perspective of its members. The ethnographic research methods of observation, journaling and interview were employed on the study sample of 9 participants belonging to the Italian Gates skhothane crew, in order to explore the fashion identities of Skhothanes. The common defining feature of the Italian Gates skhothane fashion performances is the acquisition and pageant-like display of members’ perceived wealth through colourful Italian branded clothing. In this study’s sample, the practice of vandalism on consumer goods is a rarity and is understood as being an uncommon skhothane performance. Instead, the idea of vandalism being inherent to the culture seems to have gained notoriety through subjective media coverage. The overall findings of the study indicate that the self-reflexive identities of the skhothane Italian Gates group make the participants intertextual authors in their use of luxury clothes to portray the image of their desired affluence and social positions. The existence of the skhothane neo-tribe reaffirms the reality of a postmodern society but more so it demonstrates a shift in the identities of young black South Africans. The study has provided terminologies relevant to neo-tribal phenomena that are defined by consumerism and performance in the context of fashion.
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    A practise-based action research self-study : "how do I improve my practice as a bridal-gown designer in a highly-competitive market?"
    (2016) Walters, Casey Jeannne; Scott, Lee; Roome, John William
    In my practise-based action research self-study I have developed ways in which to improve my practice as a bridal-gown designer in a highly-competitive and import-driven bridal-gown market. My earnest intent was to improve my practice using action research methods whilst simultaneously developing a solution through critical reflection and practice-based approaches as an economically-sustainable designer of bespoke, cost-effective, competitively-priced bridal gowns. I realised the potential for professional influence and positive economic growth through entrepreneurial thinking, not only for me but for others; it was this which cemented a sense of values in me as an action researcher. I have displayed a healthy marriage between equally important views of practice as theory and the theory as practice. I explored relevant literature that would validate my practice and aid in answering my critical questions, which became evident as validation chapters in my study. Carrying out internships with three bridal gown designers opened my eyes to the real world of business, a sense of theory as practice, where I could see, first-hand, the effects the import industry had on local designers and what they were doing to survive. The conceptualisation of foundational bridal blocks was a solution to save time in my own creative process so that I could produce cost-effective bridal gowns at a competitive price, in a sustainable manner. Once I had explored and created my own interpretation of the foundation block concept that transformed into a small collection of bridal gowns, I used the foundation blocks as a starting point to design bridal gowns for ‘real’ bridal clients. My study is personal in nature; by way of using self-study methods and also the personal ‘one-on-one’ connection I have with my ‘real’ bridal clients. I extended this ‘personal factor’ by holding a public exhibition to which I invited my friends, family, the public and my peers to view and give critical feedback on my work as a bridal gown designer.