Design - Fashion Bachelor Thesis

ALICE MARINHO DE ARAร JO GABRIELA LIBERTO DOS SANTOS

CONSTRUCTION OF POSSIBLE READINGS A Design Project from a historical and social research.

Term paper presented as partial requirement to obtaining the title of bachelor of Fashion Design course of Anhembi MOrumbi University, under orientation of Professors Ms. Adriana Martinez, DraD. Agda Carvalho, Dra. Mรกrcia Merlo and Ms. Regina Barbosa.

Sao Paulo June/2013

acknowledgement

We are thankful to each one who passed by us during these years, to our parents, professors, brothers and friends for have supported us and made us believe that this is a project made with a lot of effort and passion.

Thank you for insisting on us.

Sumรกrio

02 ABSTRACT 03 INTRODUCTION

Chapter I

06 Fashion design and the social revolutions 08 The Russian Revolution 11 October Insurrection

Chapter II 13 Mood board from the research 16 Construction of possible readings 19 Target Audience 28 Development Process 28 Projectual formals elements 29 Color chart 31 Shape studies 35 Sillouettes 40 Surface design 41 Textiles 45 Composition and look harmony 49 Collection presentation

99 FINAL CONSIDERATIONS 100 LITERATURE REFERENCES 107 ANNEXES

Chapter III

65 What the walls say 66 Mood board of Image Concept 67 Journal: concept 67 Typography 69 Grid 73 Colors 77 Paper 78 Shape and dimensions 80 Mood board for the Photo Shoot 82 About the Photo Shoot 83 Photo Shoot

Chapter IV

88 Scenario 89 Market Strategies 91 Project costs structure and competitive strategies 94 Collection costs Spread Sheet 97 Sales Price Spread Sheet

Resumo

2

Abstract

The Design as discipline doesn’t have a its own theoretical body, but works with many disciplines which dialogues among them. In a Fashion Design Project it wouldn’t be diferent, beginning with a referential theoric research over the Social Revolutions in order to obtain a concept to develop a Menswear Collection consists of 13 looks as the survey of the production costs and the commercial simulation.

With the results could be realized how the disciplines that are part of a Fashion Design Project are inter and trans-relate, they dialogue in a way that the walls among them are felled, reflecting in the fashion designer’s role who will conduct the professional involved according to the project goals.

Keywords: Fashion Design. Society. Social Revolution. Russian Revolution. October Insurrection.

Resumo

O Design como disciplina não possui um corpo teórico próprio, mas trabalha com diversas disciplinas que dialogam entre si. Em um projeto de Design de Moda não seria diferente, ao começar com uma pesquisa teórica referencial sobre as Revoluções Sociais com objetivo de obter um conceito para desenvolver uma coleção masculina composta de 13 looks assim como o levantamento dos custos de produção e simulação comercial.

Com os resultados pode-se perceber como as disciplinas que fazem parte de um projeto de Design de Moda se inter e trans - relacionam, isto é, dialogam de tal forma que as barreiras entre si são derrubadas, refletindo assim no papel do designer de moda que conduzirá os profissionais envolvidos conforme os objetivos do projeto.

Palavras – Chave: Design de Moda. Sociedade. Revolução Social. Revolução Russa. Insurreição de Outubro.

INTRODUCTION

Introduction

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The designer, by training, has his knowledge supported on several other knowledge areas which reinforces the Design interdisciplinary attribute. On a fashion design project this is not different, it is clear from the research theoretical framework for the concept development until its materialization in product.

This project has as axis Fashion Design and Society, which guides the research areas as history and sociology, and approaches as theme the Social Revolutions and unfolds until the Russian Revolution at the October Insurrection episode.

It has as goal build, from the analyzes and the creative development, the materialization of a twelve looks collection to a researched target market and the development of the fashion image, as well as, the possible the possible marketing deployment by defining a business model.

At Chapter I an approach over the interdisciplinaries relations among Desig, Fashion and Society is done, and aims to understand how design relates with oter knowledge areas as history, sociology, modeling, semiotic, and introduce the subject of the research theoretical framework. At Chapter II, the previous informations merge with the authors analyzes showing the research’s mood board of thinfor, the Creation Concept, the target market as well as its mood board with images from fieldwork. The projectual development is also showed on this chapter: shape studies, color chart, sillouttes, surface design, all with their own explanations, and, finally, the collection presentation.

On Chapter III there is the image of the collection, from the mood board construction with the references for the fashion image development as the photo shooting until the imaging concept with the visual language (graphic project, typography, shapes, dimensions, grid and colors).

Finally on the Chapter IV there is the project implementing presenting market and strategies settings, collection costs spread sheet (spare pilot), mass production, image production and projecting the selling price for the end customer.

Chapter I

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CHAPTER I

Chapter I

Fashion Design and the social revolution

The design, from its own natures, doesn’t have a theoretical body, but, to work with the addition of several different disciplines that come from humanities and sciences at its projects, it results on something that can not be categorized in any science, this characteristic shows design’s transdisciplinary character.

What seems to be original in the relation between theory and practice, in the design specific case, is the fact that the knowledge demanded by praxis belong to differents branches of the classical sciences, which were build before the emerging of design [...] (BOMFIM, 1997, p. 28).

According to Bomfim (1997), the fact the design be constituted, in theory and practice, by several knowledge does not force the designer to be specialized on all areas the project demands, but, he must be the one who will guide the specialists of those areas.

The authors Merlo e Navalon (2010) mention that, inside a fashion design project, those inter and transdisciplinary relations be clear from the framework research (theory), which guide to the creation concept, until the materialization of the data collected (practice). Ergonomy, semiotic, sociology and modeling are some of the knowledge which are part of the configuration fashion product process.

Bomfim (1999) points out that Design, as discipline and experimentation, emergers from a social need and, therefore, it can not disconnect from society, projects to and inside the society.

So, the products configuration from a design project incorporates part of the cultural values in which the user (audience) is inserted. And the designer must be aware to this culture when he designs a service or a product. According to Krippendorf (2000), with the development of designer’s role in society, it was noticed he must, before everything, understand to whom he is projecting for, not only think about the product’s shape and function.

Inside design inter and transdisciplinary methodology, it is necessary to get theoretical references of research to a project, this will start from the axis society dialoguing with the pertinent areas, such as History and Sociology, which direct the autors proposal.

Thus, the starting point to support this research are the social revolutions and their possible outcomes; thus is necessary to understand when the word revolution is used to describe a social movement.

To Marilena Chauí (2010), the word revolution comes from Astronomy field, and it comprehends the movement that the star does when it goes back to its start point (complete circular movement). However, due the bourgeois revolutions this concept turned out to be related to the social revolutions. According to the author, the bourgeois revolutions were events that changed the State conception, they meant transformations on the economics, political and social structures.

The revolutions and, especially, the popular side of them, operates exactly with the lack of distinction between the State and society, politic ans social relations.

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Fashion Design and the social revolution

Chapter I

The revolutions aims to drop down the existing power or the State because it is seeing as the responsible or the accomplices of the imbalance and injustices presents on society. In another words, the social injustices perceptions leads to political actions. (CHAUÍ, 2010, p. 524)

1 Marxist theory, developed

by Karl Marx and Friedrich Engels, advocated that the working class struggle for the emancipation of the reins of the bourgeois class that owns the means of production, but depends on the manpower working to enrich. Marx and Engels argued that this was only possible in countries with advanced capitalism, such as England, France and Germany, and Russia was still a country of agrarian economy (CHAUÍ, 2010).

In political terms, a revolution, bourgeios or popular, is very significant, because it shows the society organization and the power of the State, highlights the social and political divisions, besides the existence of an opressor element and, logically, of an opressed. This is not a natural situation, but result from human actions, which can be modified, rebuild.

Still according to Chauí (2010), is through the rights declaration that the power relation is established in a new way, in which the public instituions satisfy the citizens needs; in this direction, it is duty of this new political power established design instituions to assert that the revolutionary struggle for rights.

Even though the term social revolution is not conceptualize, in the extrem era, Eric Hobsbawn (2008) cites several social movements as revolutions – the women rights fight, the racial equality, the Cuban Revolution. Each one with its own peculiarity, regardless of when it happened, all arose from the citizen’s discontent, without segregation by social class or genre.

The popular side of the revolution did not disappear, resurfaced from time to time with labor movements, strikes, parades, claiming for better living conditions, work, equal rights and wages.

As the industrial capitalism developed and became strong, the popular side was becoming a well-define social class: workers or industrial workers. In this movement, small revolutions emerged throughout the twentieth century, among them the Russian Revolution, which, according to Marxist theories1 could not have been conceived.

Those theories configured a new society, on which there would be no division or social inequalities, the policy would not depend on State and social and culture exclusions would disappear. This thought is realized due the existence of a dependency of the State in relation to the ruling class (bourgeois).

Chapter I

The Russian Revolution

González (1986) says that, by the presented theories, the work class, who organized in labors, started to promote strikes so that their bosses and the State attend to their needs, at the moment that they had theoretical bases this helped them to achieve their goals.

From those theories, the labor leaders and the work class found strength and base for their fights. The biggest example of this movement is the Russian Revolution, which scenario must be understood to be best explained.

For Reis (1987), while Western Europe progressed economically with your capitalism post Industrial Revolution, in Russia the difference between the modern times and the ancient times with the serfdom.

According to this perspective, the author states that the regime in Russia was Tsarist, the State was commanded by the imperial family, who, since the turn of the nineteenth century, felt the consequences of the economic advances from the Western Europe, and now started to implement industries - socially, the population wanted the end of the serfdom regime, because Russia was still an agrarian country. On this period, according to González (1986), the then Emperor Alexander II had legislated the Rural Communes, which had proposed to facilitate the purchase of land by peasants.

While the populists defended the Communes saying these reinforces the comnual laces and the productive relations, the disciples of Marxism the condemned, since they put the “development of the productive forces in the hands of the bourgeoisie” (GONZÁLEZ, 1986, p. 10).

Reis (1987) notes that, in parallel, the industrial sector advanced in some cities such as Warsaw, Moscow and Petrograd, which provoced which caused the exodus of much of the rural population to these industrial centers. This population who doubled through the turn of the century formed a new social class, the work class, whose lived in conglomerates, worked twelve to fourteen hours schemes with very low wages and bad living conditions. The State did not admitt the existence of the class, but the 1905 Revolution, the Bloody Sunday, showed the opposite.

According to Reis, in January of 1905 happened the Bloody Sunday: on that day, Father Gapon organized a parade, for peaceful purposes, in which the people claimed better living conditions in general and the right to strike however, the tsar sent troops shoot at people who had no chance to fight.

The film-maker Eisenstein (1925), on his movie Bronenosets Potyomkin, shows how the sailors of largest fleet of Tsar rebelled from lack of food, besides the terrible conditions they were in, because at that time the country was in war against Japan.

González (1986) says, after these conflicts with the population, the tsar Nicholas II was forced to make concessions, one of them, the Duma election, a national assembly which legislated over subjects such as war, international relations, reforms in the Constitution and improvements on the working conditions (reduction on the work hours and permission of forming union).

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The Russian Revolution

Chapter I

Following the author’s logic, Lenin, disciple of Marx, analayzed what had occured and afirmed that the only way to socialism was the political democracy, ie, a possibley coalition between the bourgeoisie and the government, which the Mensheviks 2 did not want. Alone, the workers could not win the State power, however, neither the bourgeois had revolutionary strength; so, Lenin had a few conclusions over the process to reach the socialism, assim, Lenin tirou algumas conclusões sobre o processo para alcançar o socialismo, that would be composed of two stages: first, the proletariat would unite the peasantry neutralizing the bourgeoisie to overthrow the autocracy, in the second, the proletariat would unite the poor peasants and neutralize the rich peasants (owners of more fertile land and lucrative) and overthrow the bourgeoisie (REIS, 1987).

To Leon Trotsky (2007), the 1905 Revolution only enforced the need of the displacement between these steps, he called permanent revolution.

According to González (1986), while internally occured those tensions and differences, externally the World War I was occuring. Russia got into the combat even with the population desapproval. The parties had different opinions about the soldiers perma3 Marxist revolutionary cur- nence on the battle field, Os partidos tinham opiniões diferentes sobre a permanência ou rent of political thought in não de soldados no campo de batalha, the Mensheviks said that “Russia should remain the international labor moready for combat” as the Bolsheviks3 disagree. vement emerged in the early Throughout Russian sojourn in war, the country losses did not increase only on twentieth century in Russia, and modeled in a proleta- the war with the lack of weapond and ammunitions, internally the nation was devastated: rian party, the Bolshevik the industrial production, which turned all its production to war, detracted many other Party. During the elections sectors, the bread price increased so drastically that had to be rationed. Reis (1987) points of the governing bodies of the party, the supporters of out that this whole situation began to worry the ruling classes, who began to question the Lenin formed the majori- role and decisions of the Tsar. ty (the name comes from The author afirms that Rasputin4 image can not be disregarded, because the Tsar’s the Russian bolchinstvó). family believed on the powers of this magician, who influenced on many political deciIn http://www.marxists.org. sions from the emperor. Rasputin was murdered on December of 1916 and Nicholas II himself carried his coffin and burried on the family’s residence. This episode only reinforced the isolation Tsarina family in front of their decisions on war and the Russian policy (GONZÁLEZ, 1986).

4 Mixture of male and mi- Throughout the war, strikes and riots in the front were a constant. According to Reis racle worker with quackery, (1987), patriotic uprisings of peasants were replaced by demands for land, bread and peace which, without formally theme of the popular movement. having any office in the RusIn 1917, the crisis has worsened, withdrawals were routine, strikes took larger prosian imperial government, exerted an enormous in- portions and any disagreement was sufficient for the occurrence of riots. In February 23rd fluence on the final stage of of 1917, the non violence women’s parade to celebrate their international day called 90 life of the Romanov dynasty. thousand workers for strike, this situation extended until February 25th. On this day, 240 In http://educaterra.terra. thousand people did not work, they claimed not only bread, but against the current autocom.br cracy. In response, the Tsar ordered the soldiers to disperse the crowd which closed factories, 2

Current bourgeois reformist social democracy in Russia.

The Mensheviks formed in 1903, at the Second Congress of the Social-Democratic Party of Russia (RSDLP), uniting opponents of Leninist party structuring principle of a new kind, which, on being elected the central Party bodies, resulted in minority (Menslevism the name, which, in Russian, means minority, due to this fact).

In http://www.marxists.org

Chapter I

The Russian Revolution

but instead, the soldiers fraternized with this crowd (REIS, 1987).

According to González (1986), with this soldier’s revolt, some officers were arrested, jails were burnt and the Petrograd city was in the hands of insurgents; at the night of February 27th to 28th, the Tsar abdicated his throne. All happened as an explosion, without leaders - according Trotsky apud González, “the decisive impetus stemmed from endless waits at the doors of bakeries” (1986, p. 34).

According to Reis (1987), the insurgents had the power on their hands, but they didn’t know what to do with it, they didn’t plan a form of alternative power.

González (1986) discusses how, after that moment, a doubled power was established in Russia and how the year of 1917 was marked by instability. On one side, were the soviets, councils established by workers who functioned as organizations fighting for their rights, on the other, the Provisional Government headed by Alexander Kerensky lawyer, who defended the workers on the Tsar court, but had a policy for the permanence of the troops on the battlefield and favorable to the Revolution, ideas responsible for the rapid decline of their power.

This duality represented the transition between the Bourgeois Revolution and the Worker Revolution, which would come once the Bolsheviks took power. Reis (1987) points out throughout this long period, after many discussions about which ways Russia would take on the war and who would govern, the Bolsheviks started to be supported on the soviets.

The author also afirms that the Provisional Government no longer had control of the situation: in the field, workers were alone agrarian reform through Agrarian Committees, the industries, the Factory Committees took control. This whole situation just favored the takeover by the Bolsheviks.

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October Insurrection

Chapter I

The October Insurrection ended the power duality in Russia on 1917. On the beginning of that month, the country was dominated by the chaos – inflation, food shortages, crises in industry and transportation. The Kerenky’s decisions were not obey, everybody wanted peace and international scenario was favorable to that (GONZÁLEZ, 1986).

“The essential premise of a revolution lie in the fact that the existing social system finds itself unable to solve the fundamental problems of the development of the nation” (TROTSKY, 1977, p. 847), with those words, Leon Trotsky characterized the conditions for the October Insurrection. The Bolsheviks started to understand that the insurrection was necessary.

Throughout the month, the ones who supported Kerensky tried to resist, but gradually the Bolsheviks took the control of the major media of the country, such as central telephone, telegraph and the railroads.

According to Reis (1987), at this moment can be highlighted that the armed forces began to ally with the Soviets on defense Uprising, the Red Guards, set up after the February uprising, via its strengthening grow and this was a result of the decommissioning of the Provisional Government.

As the author, on October 22nd on 1917, the soviets promoted a demonstration in the city of Petrograd, which received a positive response from people. Such an event was too much for Kerensky in the early hours of day 23, decided to sue the Military Revolutionary Committee, closing the Bolshevik newspaper and call troops to control the situation, on the 24th, the newspaper was closed but then reopened.

According to González (1986), this event demonstrated the soviet’s insatisfaction with the situation – in the morning of October 25th, the Winter Palace of the Tsar was taken; however there were still some political questions that need to be answered. Formally, the soviets took the power on th 26th, proposing a Peace Decree, a Land Decree which abolished private property, prohibiting wage labor and land rental.

The most interest characteristic of all those facts is that the Bolshevik party, at the moments before the Insurrection, was isolated and there was an uncertainty about the Bolshevik permanence in the power. On this idea, Trotsky apud González, during the Soviets Congress, reaffirms (as bolsheviks interpretation): “How could we be isolated if the power has come to our hands with almost no blood?”(1986, p. 73-74).

Hobsbawn (2008) answers this questions when he declares the October Insurrection (Bolshevik Revolution) was a signal, a possible alternative for humanity who was already tired of the old economy and political systems. Such event was not pointless, worked as a snap for people to build, from their suffers, anxieties and insatisfaction over the ongoing order, a new society which could correspond to theirs ideals, sch as peace and equality.

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CHAPTER II

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Chapter II

Mood Board

Figure 1 Overall view Mo o d B o a r d

of

Font: Authors collection.

the

Chapter II

Mood Board

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Figure 2 Detailed view of the Mood Board.

Font: Authors Collection.

After the image gathering, the author decided to develop the mood board (Figure 1) as the events according to the sequence of events as seen in the theoretical research, that is, starting from the concept of revolution and revolutions Bourgeois (Figure 2) and, after, the Russian Revolution (Figures 3 e 4).

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Mood Board

Figure 3 Detailed view of the Mood Board.

Font: Authors Collection.

Figure 4 Detailed view of the Mood Board.

Font: Authors Collection.

Chapter II

Chapter II

Construction of Possible Readings

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The thought to define the creative conception came from the theoretical research framework and images from the mood board. The interweaving of these data allowed the development of questions which lead to the interpretation of what meant the revolution inside the historical context analyzed.

Therefore came to the concept of creation: CONSTRUCTION OF POSSIBLE READINGS. This concept translates the author’s perception about the process which last from the Russian Revolution until the October Insurrection. The question about the possible readings comes from the fact that revolutionaries themselves found at the society a new way of living with segregation. The construction of a new different society from the one they belong occured from the reading they have about the whole situation plus their ideal of life. Doing the Revolution starts from a social agent who, realizing the possibilities of transformation, build a society free of inequalities.

This lecture is also present on the posters production of that time (Figures 5, 6 e 7), which were used as means of communications, and on them were explored different possibilities, as, as the double sense of geometry and its relations of perception and dimension.

Figure 5 Poster ‘For the voice’,(1923), of Vladimir Mayakovsky.

Font: poulwebb.blogspot. com.br.

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Construction of Possible Readings

Figure 6 Cartaz ‘MessMend’ (1924), of Rodchenko.

Fonte: russianavantgardebooks.blogspot.com.br.

Figure 7 ‘Proun 4B’ (1920), of El Lissitzky.

Font: http://www.learn. columbia.edu.

Chapter II

Chapter II

Construction of Possible Readings

Thus, the constructions of possible readings are ways to provide those who read the various ways of thinking about time and space in which it is, and how lives can reread and how it relates, building further reading yourself.

When one reads, in order to reflect about themselves, about evertyhing surround them, offers ways to build changes, such as social changes. These are readings of the possibilities of others constructions over themselves and the environment that they are in.

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Target Audience

Figure 8 Target audience Moodboar.

Font: Author collection.

Chapter II

Chapter II

Target Audience

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As affirm Merlo e Navalon (2010), on a fashion design project understand to whom is designing is essential not only for marketing, but also for projective questions.

According to this thought, the target audience for this project is man, with no age restriction or social class (Figure 8).

For a better comprehension and delimit this target, a survey of behavior composed of questionnaire, data collection, remote monitoring (social networks) and later analysis and interpretation of the data was performed. After the survey was possible to understand that the target of this project uses the digital technology as a way to be close to their interest areas, using websites as consumption references in order to build their own identity, such as Freshness (Figure 9), Hypebeast (Figure 10), Rocawear (Figure 11) and HypeBR (Figure 12). Some interviewees proved technology addicts, inclining to buy the lastest gadgets, because they wnat to know what kind of experience it might give to them. However, other interviewees said that they make a thorough research to know what you can add this news.

Figure 9 Homepage of Freshness, consumption reference website for the target audience.

Font: com.

www.freshnessmag.

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Target Audience

Figure 10 Homepage of Hypebeast,consumption reference website for the target audience.

Font: hypebeast.com/.

Chapter II

Chapter II

Target Audience

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Figure 11 Homepage of Rocawear, consumption reference website for the target audience.

Font: www.rocawear.com/.

Figure 12 Homepage HypeBR, consumption reference website for the target audience.

Font: www.thehypebr.com/.

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Target Audience

Chapter II

Figure 13 Homepage of IdeaFixa, Ideas reference website for the target audience.

Font: www.ideafixa.com.br.

The target audience see on these websites and others like IdeaFixa (Figure 13) ways of building and express their identity, because they understand them as authenticity and diffusers that help them feel unique.

It is also through digital technology (social networks) the target comunicates with their friends and affirm their identity, Instagram (Figures 14, 15 and 16) and Facebook are some of social networks more used by them.

Chapter II

Target Audience

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Figure 14 Kym Kobayashi profiele (target audience interviewed) on Instagram.

Figure 15 Thiago Carvalho profile (target audience interviewed) on Instagram.

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Target Audience

Chapter II

Figure 16 Diego Maçã profile (target audience interviewed) on Instagram.

Urban art, such as graffiti is also apreciated by this target, art galleries like Choque Cultural (SĂŁo Paulo) or even the street art represent their aesthetic values (Figures 17 and 18).

From this point of view, stores that combine these artistic expressions with the products they sell, designing limited series, are the favorite of users, further reinforcing the sense of unity they seek.

Chapter II

Target Audience

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Figure 17 Beco do Batman, Vila Madalena, Sao Paulo, BR. Font: www.facebook.com.

Figure 18 Beco do Batman, Vila Madalena, Sao Paulo, BR. Font: www.facebook.com.

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Target Audience

Chapter II

Taking into account the products characteristics, mainly clothing, some observations were pointed: parts with poor fit and finish, fabrics that hinder breathing body, great trims and even the brand name away from striking way the public to purchase (question D, anex I).

According to survey, the target cares about the future and the lifestyle, so they start to work early, but not as an obligation or need, but they want (to feel) a financial independence.

Accordingly, these individuals recognize in education the opportunity to have a “better future�, and, added to this reasoning, would rather have a job that is more pleasurable than well paid.

Throughout life, the target builds many families, close friends who share and exchange their ideas begin to play an important role for such people. Due this social value, but no only, this a emotional public who appreciates intimate moments with friends, preferring to lunch, cooking and talking with them than going to a crowded nightclub.

With this profile, can be affirmed that this target audience is open to experimentations, because with them they can build and affirm their identity, in order to feel unique.

The result of the survey applied to men and women through the use of Google Docs, Google tool platform that allows the creation of forms and interviews are sent to multiple users is in Annex I.

Chapter II

Development Process

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From the junction of the information collected, such as images and notes of reflections, the development of the creative process began to define the collection.

According Navalon (2008), the identity of the clothes is by definition of silhouettes, lines, proportions, details of cuts, colors, fabrics and textures adopted in the design.

Thus, all ideas that have emerged throughout the process were placed on paper and discussed, in order to create an array with the greater number of possible options in order to subsequently be able to select the best one that reflect the concept of the project.

Figure 19 Process of color chart development.

Font: Authors collection.

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Color Chart

Chapter II

Figure 20 Moodboard and the color chart.

Font: Authors collection.

The choice of the color chart was made from the look of the authors on the moodboard, ie, its colors led the looks chromatic allowing readings to the project configuration (Figures 19 and 20).

This view was captured from the posters, which showed possible readings on the historical and social context analyzed (Figure 21). So, the six (6) colors that composed the chart are: Red Tandori Spice Pantone 18-1444 TPX; Red Garnet Pantone 19-1655 TPX; Brown Narcissus Pantone 16-0950 TPX; Ink Blue Pantone 19-4234 TPX; Bright White Pantone 11-0601 TPX; Bege Rattan 14-1031 TPX; Seal Brown Pantone 19-1314 TPX; Simply Taupe; Pantone 16-0906 TPX; and Dark Shadow Pantone 19-3906 TPX.

Chapter II

Color Chart

Figure 21 Color char explanation Font: Authors collection.

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Shape Studies

Figure 22 Overall view of the board with the interpretative images (above) and shape studies (under).

Font: Authors collection.

Chapter II

Chapter II

Shape Studies

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Figure 23 Interpretative images collage over the moodboard.

Font: Authors collection.

The reflection starts from the geometric shapes overlappings: cut out the outlines at the same time another draws are recreateds – or on the perception of form or just by the intersection of lines and planes (Figures 22 and 23). The observer’s impression is vinculated to his capacity of absorb the created images, establishing and generating multiple possibilities of readings.

Figura 24 Destaque ao desenvolvimento das formas.

Fonte: Acervo das autoras.

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Shape Studies

Chapter II

Figure 25 Highlight to the shape development into sillouettes.

Font: Authors collection.

The reading given to the human body by this geometry is established with the use of geometric shapes, that is, the authors constructed possible readings on the body that serves as support to the geometric compositions.

Among these possibilities, these compositions may be modular, giving rise to the other readings. From basic geometric elements, it is possible to obtain various forms, from the simplest to the most complex. One point unfolds to a line, which can be finite or infinite, building anyway (triangles, octagons), in which the reader/creator can take multiple readings to change their position, reconstructing them.

One of these traits is a zigzag (Figures 24 and 25), which is a triangle, a square, a retangle, turns back to a trace, enabling a reading different from the first, that is, a sequence of a trace can be the starting point and will be present in the next sequence can be reconstructed, making the third construction which may be, for example, on sixth - endless construction of possible readings.

Chapter II

Shape Studies

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Figure 26 Polyedhro image and its possibles shapes.

Font: Authors collection.

According to this thought, it has the polyedhro figure. With the shape studies, it is understood that, in the polyedhro construction, lines and shapes are used, from them can be created infinites shapes/reading, when used in modular way. The triangles allow the cubes to fit firmly for any construction that the lecturer build (Figure 26).

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Sillouettes

Figure 27 Sillouettes studies process.

Font: Authors collection.

Figure 28 Sillouettes studies development.

Font: Authors collection.

Chapter II

Chapter II

Sillouettes

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The sillouettes study (Figures 27 to 32) is an important process inside the projecto, because on it is based the entire creative concept. The difficulty of align the geometric shapes to the body organicity is overcome by choosing the right materials for the clothing development.

Figure 29 Sillouettes and fabric studies.

Font: Authors collection

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Sillouettes

Figure 30 Sillouettes and fabric studies.

Font: Authors collection

Chapter II

Chapter II

Sillouttes

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Figure 31 Sillouettes, fabrics and cuts studies.

Font: Authors collection.

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Sillouettes

Figure 32 Sillouettes, fabrics and cuts studies.

Font: Authors collection.

Chapter II

Chapter II

Surface Design

Figure 33 Surface design studies.

Font: Authors collection.

The project’s surface design (Figure 33) emerges as counterpoint to the vertical lines used throughout the sillouettes studies, creating textures from horizontal lines, giving another reading to the whole set.

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Textiles

Chapter II

The textile chosen was based on the target audience survey and on the sillouettes studies, so we chose materials that would not cause nuisance, favoring perspiration from the skin and that would provide the necessary rigidity for the manufacture of parts.

So the textiles used on the collection are: denim, twill (Figures 34, 35 and 39) and tricoline, composed with 100% cotton (Figures 38, 40, 42 and 43). In exception, gabardine were used, composed by 80% polyester and 20% viscose, satin and taffeta with 100% polyester, used in the lining of the looks 10, 11 and 12 (Figures 36, 37, 41 and 42).

Figure 34 Twill textile photo on the colors (aprox): Brown Narcissus Pantone 16-0950 TPX and Dark Shadow Pantone 19-3906 TPX. Font: Authors collection.

Figure 35 Twill textile photo on the colors (aprox.): Bege Rattan 14-1031 TPX and Red Tandori Spice Pantone 18-1444 TPX. Font: Authors collection.

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Textiles

42

Figure 36 Textiles photos, in order, gabardine and taffeta, o colors (aprox): Seal Brown Pantone 19-1314 TPX e Red Tandori Spice Pantone 18-1444 TPX. Font: Authors collection.

Figure 37 Textiles photos, in order, tricoline and taffeta, on color (aprox) Ink Blue Pantone 19-4234 TPX. Font: Authors collection.

Figure 38 Textile photo tricoline , on colors (aprox): Bright White Pantone 11-0601 TPX and Simply Taupe Pantone 160906 TPX. Font: Authors collection.

43

Textiles

Figure 39 Textile photo, twill, on colors (aprox): Dark Shadow 193906 TPX and Seal Brown Pantone 19-1314 TPX.

Font: Auhtors collection.

Figure 40 Textile photo tricoline on colors (aprox): Red Garnet 191655 TPX and Seal Brown Pantone 19-1314 TPX.

Font: Auhtors collection

Figure 41 Textile photo, satin, on colors (aprox): Ink Blue Pantone 19-4234 TPX and Dark Shadow 10-3906 TPX.

Font: Author collection.

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Textiles

44

Figure 42 Textiles photo, in order, satin and tricoline, on colors (aprox): Red Tandori Spice Pantone 18-1444 TPX and Narcissus Pantone 16-0950 TPX. Font: Authors collection.

Figure 43 Textile photo, tricoline, on color (aprox): Bege Rattan 14-1031 TPX.

Font: Authors collection.

45

Composition and Look Harmony

Figure 44 Looks compostion studies.

Fonte: Authors collection.

Figure 45 Look composition studies.

Font: Authors collection.

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Composition and Look Harmony

46

Figure 46 Look composition studies.

Font: Authors collection.

Figure 47 Studies of color harmony on the look composition.

Font: Auhtors collection.

47

Composition and Look Harmony

Figure 48 Studies of color harmony on the look composition.

Font: Authors collection.

Figure 49 Studies of color harmony on the look composition.

Font: Auhtors collection.

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Composition and Look Harmony

48

Figurae 50 Photo of look compositions.

Font: Auhtors collection.

49

Collection Presentation

Chapter II

Through the collection composition process, in order to offer a better reading, one more look was created (Figure 65) , so the collection is composed of thirteen (13) looks (Figures 51 to 65).

Figure 51 Sketch look 1.

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Collection Presentation

Figure 52 Sketch look 2.

50

51

Collection Presentation

Figure 53 Sketch look 3.

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Chapter II

Collection Presentation

Figure 54 Sketch look 4.

52

53

Collection Presentation

Figure 55 Sketch look 5.

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Chapter II

Collection Presentation

Figure 56 Sketch look 6.

54

55

Collection Presentation

Figure 57 Sketch look 7.

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Collection Presentation

Figure 58 Sketch look 8.

56

57

Collection Presentation

Figure 59 Skettch look 9.

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Collection Presentation

Figure 60 Sketch look 10.

58

59

Collection Presentation

Figure 61 Sketch look 11.

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Collection Presentation

Figure 62 Sketch look 12.

60

61

Collection Presentation

Figure 63 Sketch look 13.

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Collection Presentation

62

Figure 64 Overall view of the front from the collection.

63

Collection Presentation

Figure 65 Overall view from the back of the collection.

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64

CHAPTER III

65

What the Walls say

Chapter III

From the creation concept, Construction of Possible Reading, unfolded an imagetic concept which aims to think about the present urban time and space. The objective is to use some of elements of this space, such as graffiti and other wall paints, in order to stimulate the viewer to see possibilities for change where chaos or emptiness form a kind of wall, preventing the looks.

This urban expressions are constant, because they integrate the rhythm of the city, ie, it should be understood that the stimulus caused the observer will be provided by various readings and writings that will change over time.

The concept is to use these expressions to encourage the viewer to find opportunities where these do not exist, so that the look through the actual state of the environment which surrounds him, helping him to see beyond and motivating him to wonder about everything what bothers him, and perhaps as a result of these challenges, he feels the need to do something, to change, that is, leave the field of ideas and have attitude to make the change he desires.

Chapter III

Mood Board of the Image Concept

66

Figure 66 Mood Board of the image concept Font: Authors collection.

67

Chapter III

Journal

In order to communicate the idea clearly and objectively, a graphic design that matches the concept of the proposed image was produced. Thus, it was drawn from the structure of a newspaper, because it understands that this medium prints the expressions and urban rhythms, the walls and complement what they say.

Typography 6

The initial goal of the typeface Helvetica as known today was to create a clear type without cultural meanings, easily readable and it could be used in different media: from traffic lights to printed paper.

Avaiable at: http://design. blog.br/design-grafico/helvetica-a-fonte-mais-famosa.

Accessed on: 10 de fevereiro de 2013.

Figure 67 First type – Philly Sans.

Font: www.urbanfonts.com.

After a research on specialized websites, such as dafont.com and urbanfonts.com, the first typographic font was elected, it carries the project: a Philly Sans (Figure 65), chosen because of its readability and how it represents the graffiti presents in the concept of image, besides the urban scenario used in the project pane. The second font was Helvetica (Figure 66), type developed in middles 1960 which can be used on many surfaces, from traffic signs to paper prints6, focusing on larger text readability and flexibility for implementation.

Chapter III

Journal

68

Figure 68 Second type– Helvetica.

Font: www.identifont.com.

69

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Journal

Grid

The selected layout was the one that approached a newspaper (column grid) (Figures 67 and 68). More flexible to organize informations as texts and big images, this kind of layout also allows experimentations, as its owns desconstruction (Figure 69), enabling developing voids that will relate to the chaos of the elements of urban space present in photographic compositions.

Figure 69 Example of column on a graphic project of El Líssitszki in Die Kunstismen, 1924. Grid: construção e desconstrução.

Font: Cosac Naify, 2007.

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Journal

70

Figure 70 Example of column grid on a book cover Die Kunstimen de El Líssitski, 1924 (left) and on a conference poster, by Bates Hori, USA (right), the last one is a desconstruction proposal.

Grid: construção e desconstrução.

Font: Cosac Naify, 2007.

Figure 71 Example of desconstruction of a column grid . Japanese magazine cover TAMABI. Font: www.tamabi.ac.jp.

71

Journal

Figure 72 Layout studies: arrangement of the elements in graphic design.

Font: Authors collection.

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Journal

72

Figure 73 Layout studies: arrangement of the elements in graphic design.

Font: Authors collection.

Figure74 Layout studies: arrangement of the elements in graphic design.

Font: Authors collection.

73

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Journal

Colors

The used colors were selected from the image concept mood board (Figures 75 to 79).

Figure 75 Justification of the selection of PANTONE 7411C from mood board Font: Authors collection.

Figure 76 Justification of the selection of PANTONE 418C from the mood board Font: Authors collection.

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Journal

74

Figure 77 Justification of the selection of PANTONE 1C, Warm Gray, from the mood board.

Font: Authors collection.

Figure 78 Justification of the selection of PANTONE 7462C from the mood board.

Font: Auhtors collection.

75

Journal

Figure 79 Justification of the selection of 416C from the mood board.

Font: Auhtors collection.

Figure 80 Justification of the selection of PANTONE 426C from the mood board.

Font: Authors collection.

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Journal

76

Figure 81 Color chart on CMYK, RGB HEX and Pantone.

Font: Authors collection.

77

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Journal

Paper

For the choice of paper, it was thought at first newsprint paper because of its shape, its size for the graphical part of the urban scene and the concept of the image itself, but the Lightweight made ​​available if you chose the role of line sketches of Fabriano brand (Figura 82), which allows good print quality and it is used on notebooks or individually for drawings and doodles uncommitted or profissionals.

Figure 82 Illustrative image of Fabriano papers.

Font: www.ruels.com.

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Journal

78

Shape and dimensions

As the concept of image permeates the urban setting, the size and shape of the graphic piece were developed from the newspaper, but with some adaptations: its size is 480 mm Ă— 329 mm when open and 240 mm Ă— 329 mm when closed, oriented in portrait position. This dimension is related to the lesser circulation newspapers like the Metro (Figures 81 and 82) and Destak, which easier to be taken.

240mm

Figure 83 Cover of journal Metro, April 23rd 2010. ASHowing the dimensions when closed.

Font: www.jeffersonamado. wordpress.com.

329mm

79

Journal

Figure 84 Journal Metro. Showing the dimensions when open.

Font: www.pedalinas.wordpress.com.

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Mood Board for the Photo Shoot

80

Figure 85 Photo of the mood board for the photo shoot.

Font: Authors collection

Figure 86 Partial photo of the photo shoot mood board.

Font: Authors collection.

81

Mood Board for the Photo Shoot

Figure 87 Mood board of the local photo shoot, Paulista Avenue.

Font: Authors collection.

Chapter III

Chapter III

About the Photo Shoot

The photographic language of graphic design was set in an urban setting , but without the excesses of writings and images in graphite, so that chaos and emptiness interact fluidly .

As for the elements of the photographic language , were studied in order to express the concept of image . Thus, we have: - Background in general plan , which shares space with the environment model . Hence, there is greater interaction between them , in the median plane , in which the equilibrium framework is defined by the elements that compose not by formal measures , and detail the plan on accessories and parts ; - The focus is given on the model , parts and accessories, decentralizing the look on the bottom and emphasizing the relationship between the environment and the model ; - There were some abstraction of motion of the model , but without a trace ; - The shape has been crafted with the perspective of the environment , that is, in some points of the lease (Avenida Paulista ) , giving a sense of depth ; - The angles were adopted counter- diving and at the height of style. This choice was made to show the strength of the subject on the environment , magnifying him gently .

- The actual texture of the objects was maintained , enhanced frameworks in detail the plan for parts and accessories without the use of effects in post-production ; - The lighting used was natural light ; - Composition and balance evoke stability , comfort the interaction of the model with the environment .

The posture adopted is the most common in street style sites, as are photos taken on the street where people are in their routine , but adapting to the concept , the attitude adopted by the model is sometimes hard , and not just walking .

Demand for biotype model stemmed from the need to be a man without bulging muscles , a more present in urban setting the metropolis figure.

The beauty followed the same language, ie makeup that maintains the natural appearance of the skin , just correcting imperfections without creating masks . The hair has cut that leaves the top most , referring to a tuft , but without styling with adequate urban environment more messy look.

82

83

Photo Shoot

Chapter III

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Photo Shoot

84

85

Photo Shoot

Chapter

Chapter III

Photo Shoot

86

87

CHAPTER IV

Chapter IV

David Aaker (1996) afirms to insert a brand at the markets requires planning and analysis about the competitors and the industry market scenario.

“There is no clear information coming from the tags or fashion shows. The biggest news and what really defines what being a cool man are on the Internet, especially on Instagram and Tumblr. And it’s not just what you see on the catwalk! “Said Lula Rodrigues carioca journalist, in an interview with Chic during the last edition of Sao Paulo Fashion Week (Março/2013).

Besides, it is notable how the menswear market is the last on the annual production proportional division. According to Associação Brasileira de Vestuário data (ABRAVEST), the sector produces around 1,287 billion pieces versus 3,5 billions pieces from the female sector; however, this information can be understood as an opportunity, as it is a increasing market.

The editor of Alfa magazine, Kika Brandão, appreciated the last show from the designer João Pimenta and from the brand Osklen, but complained that the segment is forgotten by the industries.

We have many international brands coming to Brazil, many of them betting on menswear and offering fashion information in a wearable way. But the national product is without news, with high prices and an intermediate quality. And there is no point being in the calendar of Brazilian fashion shows for shorts and shirt, right? This Brazilian knows very well already use (DO Val, 2013).

This thought is complemented with Gabriela Lima article, published on Ecommercebrasil website(2012), presents the sale of national menswear clothing increase on the eletronic plataform (e-commerce) over the last four years.

From this scenario concept, plus the target audience behavioral perception – who absorbs secondary informations, such as international and national street style website, and construct and develop profiles on social networks showing their life style, behavior and consumption (Figures 14 to 16) –, was possible to build an analysis that considers the opportunities ans threats, strengths and weaknesses, so that the insertion of a new brand on the market can be promising and satisfactory.

Scenario

88

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89 Market Strategies

Brand Presentation

From the analysis of the target audience survey, it was possible to understand and, mainly, assist on the development of a brand that meets the customers expectations. So, the Urban4you aims to develop a line of menswear fashion products valuing innovation on the modeling and materials mixture of materials, developing trends and desires.

On this market, the brand has as objective create pieces that translates the identity and help the customers to feel unique, offering a low production, confort and quality.

Figure 88 Brand Logo.

Font: Authors collection.

Customers

The brand is targeted at a niche market (young and male) in different groups (consumers and businesses).

This model offers comfort and speed for effecting the purchase, and the business presence in social networks reaches the target audience in a big scale, strengthening the relationship between the brand and the user. The mix of products offered versus the limited amount, in addition to competitive prices, makes up one of the biggest differences compared to those of competitors, which broadens the perspective of customers, whether companies or end consumers as to product quality and efficiency the platform.

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90

Product Value Proposals

As value proposal is aim to deliver to those customers innovation, design, experience in the use of parts, with prices similar to competitors such as brand TNG, which as a result of competition research was the national brand that is closest to the business model to be deployed when compared by price.  From the development of menswear, the brand’s mission is to generate interest for clients, teams and society in that it focuses on quality, from the choice of raw material for the production of parts to the aftermarket offers innovative solutions and prioritizes sustainability in its three aspects: environmental, by the choice of the raw material that does not harm the environment; social, to treat labor within all legal norms, and economic, as a means to use e-commerce.

Distribution channels identification and customers relation

There is a clear difficulty in the menswear industry to promote an effective communication with the target audience. The problems of some companies are in communication with the user and how the image of the given collection that is perceived by potential buyer. The barrier is composed of several questions: differences in the way of dress resulted from climatic factor, the perception that individuals have the image transmitted by the collection, not everyone has the same cultural / informational repertoire, the lack of visual stimulation for brands to see this target as a new market niche.

It was one of the weakest seasons of the segment over the few years, besides the lack of image on some shows, the few specialized publications suffer for a very serious problem targeting sexual orientation, and not by lifestyle (DO Val, 2013).

According to Moreira (2013), despite obstacles such as high taxes, high costs and low production scale in the industry, the scenario for implementing a business in Brazil is more favorable 7Avaiable at: http://exathan in European and North American markets. The decline in interest rates and the elimination me.abril .com .br /vid eos / guru-em- 60 -segundos/fiof some labor charges facilitate entrepreneurship in the country, according to management con- cou-mais-facil-abrir-um-nesultant Vicente Falconi, in an interview with 60 Seconds of Guru Magazine Exame7 channel. gocio-no-brasil-diz-falconi.

With the growth of internet, the e-commerce model from social networks forms a great tool to reach customer segments - including the target audience of this work shows a potential Acessed on: April 12th 2013. user of this type of platform.Thus, the relationship with clients is based on automated services and online communities in order to build a closer relationship, reducing the coldness that e-commerce presents.

The attributes which mark the products will be delivered via a e-commerce platform (private channel) which will also be a means of communication between the brand and consumers and other businesses, generating content. This channel, despite having a higher profit

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91 Market Strategies

margin, costs more to be developed, operated and maintained, but at the same time, has the advantage in reach, that is, as a physical store is restricted to the site to actually sell a website has global reach.

Project costs structure and competitive strategies

With the macro and microeconomic analysis, was developed the business model with the technique “Business Board� (OSTERWALDER and PIGNEUR, 2011) that proposes, throught nine components, to create a possible business concept easy to describe, understand and discusse. The components are: customer segment; value proposal; channels; customers relation; revenue streams, key resources, key activities, key partnerships, and cost structure.

Figure 89 Overall view of the board developed for the business models.

Font: Auhtors collection.

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92

Figure 90 Partial view from the board developed to business model.

Font: Authors collection.

Figure 91 Partial view from the board developed to business model.

Font: Authors collection.

93 Market Strategies

Chapter IV

The revenue stream has its origin three means: the sale of branded products, advertising on the site and advice to others in the industry, and this generates more profit, which, in turn, serves as the capital to develop the company’s collections. The OESTUDIO brand has a similar model, as it has an agency that works with branding, strategic design and visual identity, developing uniform fashion at their atelier and collection of own brand, as well as producing corporate films, motion graphics and presentations .

The main resources for the operation of the business model are divided into physical, such as office computers; intellectuals such as marks, records, database, website (maintenance) services from suppliers (outsourcing of production, transaction partners), human and financial, as designers, professionals in social media, banks providing credit lines for micro companies and /or investors .

The partners in this model are the suppliers of raw materials and labor, they have a strong impact on the cost of the products developed, in addition to the advertisers website as provide resources for the maintenance of the platform .

After the assessment of the costs, you will need to seek credit lines available for the implementation of the business, among which we found a provided by BNDES, with a range of gross operating revenue to R$ 2.5 million . After credit approval , the next steps are to opening the business, registering CNPJ (an obligatory document to start a company), the choice of predetermined lifting costs in physical space, hiring employees and closing of contract with suppliers.

Chapter IV

Costs Spread Sheets

94

Collection Costs Spread Sheet

The clothes pieces of the worksheet are presented with the same identification of attached data sheets, which contain information on costs of raw materials and sewing time. With the lifting of consumption data, raw material, labor and other costs of collection, you can get the following values​​:

PRODUCT COST SPREAD SHEET - Pilot pieces

Product/Reference Raw Material Cost Inputs Costs Labor Costs

Total

Jacket 001/1 R$ 38,39 R$ 7,73 R$ 125,00

R$ 171,12

Shirt 001/2

R$ 15,20 R$ 2,43 R$ 125,00

R$ 142,63

Trousers 001/3 R$ 21,30 R$ 8,23 R$ 125,00

R$ 154,53

Pelerine 002/1 R$ 22,80 R$ 1,23 R$ 125,00

R$ 149,03

Shirt 002/2

R$ 11,40 R$ 2,43 R$ 125,00

R$ 138,83

Trousers 002/3 R$ 19,00 R$ 8,23 R$ 125,00

R$ 152,23

Blazer 003/1 R$ 23,45 R$ 2,93 R$ 125,00 R$ 151,38

Shirt 003/2 R$ 15,20 R$ 2,43 R$ 125,00

R$ 142,63

Trousers 003/3 R$ 19,40 R$ 8,23 R$ 125,00

R$ 152,63

Skirt 003/4

R$ 10,65 R$ 7,73 R$ 125,00

R$ 143,38

Camisa 004/1 R$ 27,48 R$ 3,23 R$ 125,00

R$ 155,71

Short/trouser 004/2 R$ 21,00 R$ 5,40 R$ 125,00

R$ 151,40

Jacket 005/1 R$ 28,53 R$ 5,83 R$ 125,00

R$ 159,36

Trousers 005/2 R$ 17,46 R$ 5,40 R$ 125,00

R$ 147,86

Blazer 006/1 R$ 40,53 R$ 0,63 R$ 125,00

R$ 166,16

Shirt 006/2

R$ 12,90 R$ 2,43 R$ 125,00

R$ 140,33

Trousers 006/3 R$ 22,50 R$ 5,40 R$ 125,00

R$ 152,90

Coat 007/1

R$ 48,45 R$ 2,73 R$ 125,00

R$ 176,18

Shirt 007/2

R$ 21,60 R$ 1,83 R$ 125,00

R$ 148,43

Trousers 007/3 R$ 14,25 R$ 5,40 R$ 125,00

R$ 144,65

Coat 008/1

R$ 30,41 R$ 3,03 R$ 125,00

R$ 158,44

Trousers 008/2 R$ 23,19 R$ 5,40 R$ 125,00

R$ 153,59

Shirt 009/1

R$ 20,60 R$ 1,83 R$ 125,00

R$ 147,43

Trousers 009/2 R$ 23,84 R$ 5,40 R$ 125,00

R$ 154,24

Shirt 010/1

R$ 17,20 R$ 1,83 R$ 125,00

R$ 144,03

Trousers 010/2 R$ 17,10 R$ 5,40 R$ 125,00

R$ 147,50

Shirt 011/1

R$ 15,82 R$ 1,83 R$ 125,00

R$ 142,65

Trousers 011/2 R$ 19,50 R$ 5,40 R$ 125,00

R$ 149,90

Shirt 012/1

R$ 12,27 R$ 1,83 R$ 125,00

R$ 139,10

Trousers 012/2 R$ 26,82 R$ 5,40 R$ 125,00

R$ 157,22

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95 Costs Spread Sheets

Pelerine 013/1 Trousers 013/2

R$ 38,59 R$ 21,00

R$ 1,23 R$ 5,40

R$ 125,00 R$ 125,00

R$ 164,82 R$ 151,40

The values ​​in mass production meets the production of a hundred pieces of each item, so, the total price representing the cost of image was divided by 320 instead of 32, which is the total pilot pieces.

PRODUCT COST SPREAD SHEET - Mass Production

Product/Reference Raw Material Cost Inputs Costs Labor Costs Total

Jacket 001/1 R$ 34,55 R$ 6,95 R$ 20,00 R$ 61,50

Shirt 001/2

R$ 13,68 R$ 2,18 R$ 15,00 R$ 30,86

Trousers 001/3 R$ 19,17 R$ 7,40 R$ 15,00 R$ 41,57

Pelerine 002/1 R$ 20,52 R$ 1,10 R$ 30,00 R$ 51,62

Shirt 002/2

R$ 10,26 R$ 2,18 R$ 15,00 R$ 27,44

Trousers 002/3 R$ 17,10 R$ 7,40 R$ 15,00 R$ 39,50

Blazer 003/1 R$ 21,11 R$ 2,63 R$ 35,00 R$ 58,74

Shirt 003/2

R$ 13,68 R$ 2,18 R$ 15,00 R$ 30,86

Trousers 003/3 R$ 17,46 R$ 7,40 R$ 15,00 R$ 39,86

Skirt 003/4

R$ 9,59 R$ 6,95 R$ 12,00 R$ 28,54

Shirt 004/1

R$ 24,73 R$ 2,90 R$ 15,00 R$ 42,63

Short/trouser 004/2 R$ 18,90 R$ 4,86 R$ 18,00 R$ 41,76

Jacket 005/1 R$ 25,68 R$ 5,24 R$ 20,00 R$ 50,92

Trousers 005/2 R$ 15,71 R$ 4,86 R$ 15,00 R$ 35,57

Blazer 006/1 R$ 36,48 R$ 0,56 R$ 35,00 R$ 72,04

Shirt 006/2

R$ 11,61 R$ 2,18 R$ 15,00 R$ 28,79

Trousers 006/3 R$ 20,25 R$ 4,86 R$ 15,00 R$ 40,11

Coat 007/1

R$ 43,61 R$ 2,45 R$ 35,00 R$ 81,06

Shirt 007/2

R$ 19,44 R$ 1,64 R$ 15,00 R$ 36,08

Trousers 007/3 R$ 12,83 R$ 4,86 R$ 15,00 R$ 32,69

Coat 008/1

R$ 27,37 R$ 2,72 R$ 35,00 R$ 65,09

Trousers 008/2 R$ 20,87 R$ 4,86 R$ 15,00 R$ 40,73

Camisa 009/1 R$ 18,54 R$ 1,64 R$ 15,00 R$ 35,18

Calça 009/2 R$ 21,46 R$ 4,86 R$ 15,00 R$ 41,32

Camisa 010/1 R$ 15,48 R$ 1,64 R$ 15,00 R$ 32,12

Calça 010/2 R$ 15,39 R$ 4,86 R$ 15,00 R$ 35,25

Shirt 011/1

R$ 14,24 R$ 1,64 R$ 15,00 R$ 30,88

Trousers 011/2 R$ 17,55 R$ 4,86 R$ 15,00 R$ 37,41

Chapter IV

Shirt 012/1

Trousers 012/2 Pelerine 013/1 Trousers 013/2

Costs Spread Sheets

R$ R$ R$ R$

11,04 24,14 34,73 18,90

R$ R$ R$ R$

1,64 4,86 1,10 4,86

R$ R$ R$ R$

15,00 15,00 30,00 15,00

R$ R$ R$ R$

96

27,68 44,00 65,83 38,76

As for image production, the following values​​, which include spending on photo shoot and graphic project up point:

COSTS IMAGE PROJECT SPREAD SHEETS

GRAPHIC PROJECT

Creation Costs Final Art Costs Paper Costs Graphic Costs Distribution C. Taxes Total

R$ 3.000,00 R$ 3.000,00 R$ 60,40 R$ 576,00 R$ 2.000,00 R$ 120,00 R$ 8.756,40

Photo Shooting

References Photographer C. Model C. Production C. Transp C. Support C. Total

look 001 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 002 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 003 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 004 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 005 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 006 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 007 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 008 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 009 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 010 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 011 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

look 012 R$ 41,66 R$ 25,00 R$ 5,84 R$ 6,50 R$ 16,66 R$ 95,66

IMAGE PROJECT TOTAL COSTS

Graphic Project Photos Total R$ 8.756,40 1.147,92 R$ 9.904,32

Capítulo IV

97 Sales Price Spread Sheet

Sales Price Spread Sheet

Transportando os valores para a planilha de preço de venda final, com mark-up de 350 a 600% têm-se os preços abaixo. A grande variação do mark-up é justificada em razão de que os itens não contribuem de maneira igualitária para a receita devido que o desenvolvimento não é igual, isto é, o tempo gasto para modelar, costurar um blazer, por exemplo, é muito maior que o tempo despendido numa camisa ou calça: SALES PRICE SPREAD SHEET Mass Production

Product/Reference Cost Product Image Project C. Jacket 001/1 R$ 61,50 R$ 3,10 Shirt 001/2 R$ 30,86 R$ 3,10 Trousers 001/3 R$ 41,57 R$ 3,10 Pelerine 002/1 R$ 51,62 R$ 3,10 Shirt 002/2

R$ 27,44 R$ 3,10 Trousers 002/3 R$ 39,50 R$ 3,10 Blazer 003/1 R$ 58,74 R$ 3,10 Shirt 003/2

R$ 30,86 R$ 3,10 Trousers 003/3 R$ 39,86 R$ 3,10 Skirt 003/4

R$ 28,54 R$ 3,10 Shirts 004/1 R$ 42,63 R$ 3,10 Shorts/trousers 004/2 R$ 41,76 R$ 3,10 Jacket 005/1 R$ 50,92 R$ 3,10 Trousers 005/2 R$ 35,57 R$ 3,10 Blazer 006/1 R$ 72,04 R$ 3,10 Shirt 006/2

R$ 11,61 R$ 3,10 Trousers 006/3 R$ 20,25 R$ 3,10 Coat 007/1

R$ 43,61 R$ 3,10 Shirt 007/2

R$ 19,44 R$ 3,10 Trousers 007/3 R$ 12,83 R$ 3,10 Coat 008/1

R$ 27,37 R$ 3,10 Trousers 008/2 R$ 20,87 R$ 3,10 Shirt 009/1 R$ 18,54 R$ 3,10 Trousers 009/2 R$ 21,46 R$ 3,10 Shirts 010/1 R$ 15,48 R$ 3,10 Trousers 010/2 R$ 15,39 R$ 3,10 Shirts 011/1 R$ 14,24 R$ 3,10 Trousers 011/2 R$ 17,55 R$ 3,10

Total Costs R$ 64,60 R$ 33,96 R$ 44,67 R$ 54,72 R$ 30,54 R$ 42,60 R$ 61,84 R$ 33,96 R$ 42,96 R$ 31,64 R$ 45,73 R$ 44,86 R$ 54,02 R$ 38,67 R$ 75,14 R$ 14,71 R$ 23,35 R$ 46,71 R$ 22,54 R$ 15,93 R$ 30,47 R$ 23,97 R$ 21,64 R$ 24,56 R$ 18,58 R$ 18,49 R$ 17,34 R$ 20,65

Mark -up 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 350% 600% 350% 350% 350% 600% 350% 350% 600% 350% 600% 600% 600% 600%

Sales Price R$ 290,70 R$ 152,82 R$ 201,02 R$ 246,24 R$ 137,43 R$ 191,70 R$ 278,28 R$ 152,82 R$ 193,32 R$ 142,38 R$ 205,79 R$ 201,87 R$ 243,09 R$ 174,02 R$ 338,13 R$ 102,97 R$ 105,08 R$ 210,20 R$ 101,43 R$ 111,51 R$ 137,12 R$ 107,87 R$ 151,48 R$ 110,52 R$ 130,06 R$ 129,43 R$ 121,38 R$ 144,55

Chapter IV

Sales Price Spread Sheet

Product/Reference

Cost Product Image Project C.

Total Costs

Mark -up

Sales Price

Shirt 012/1

Trousers 012/2 Pelerine 013/1 Trousers 013/2

R$ 11,04 R$ 24,14 R$ 34,73 R$ 18,90

R$ 14,14 R$ 27,24 R$ 37,83 R$ 22,00

650% 350% 350% 600%

R$ 106,05 R$ 122,58 R$ 170,24 R$ 154,00

R$ 3,10

R$ 3,10 R$ 3,10 R$ 3,10

98

99 Final Considerations

Chapter IV

This project exceeded the original proposal to fulfill the requirement for obtaining the bachelor’s degree in Fashion Design. In it, the exercise of design allowed the authors the understanding and practice of inter and transdisciplinary discipline that requires broadening the understanding of working with professionals from other fields of knowledge is more than necessary to achieve a successful fashion design project.

Throughout development was seen as each step is important to the whole work, that includes from theoretical research to develop the creative concept of the collection to the unfolding of this image in graphics and fashion product.

However =, some problems were found, including the choice of fabrics in the colors chart and the required amount for the manufacture parts. Another important observation was the development of the business model. At this stage, it became clear how the designer should have a basic knowledge of how calculate what it produces (designs), how much this product should be sold and if this value is consistent with the target audience.

Among the topics covered in the preparation of the work, which deserved greater prominence was the definition of the target audience, because to understand for whom is designing to is extremally important. Therefore, deciphering codes, media consumption and user behavior are some of the items that if they are not well understood, may end the success of any project.

The experience and knowledge acquired over the four years of education can not be left out. Each semester, each project are reflected in this work which is the result of individual repertoire, but shared by the authors, that they were dedicated, prepared, and show how much matured over this period.

Literature References 100

AAKER, David A. Criando e administrando marcas de sucesso. São Paulo. Futura Publishing. 3rd Edition 1996.

BOMFIM, Gustavo A. Fundamentos de uma Teoria Transdisciplinar do Design. IN: Estudos em Design - Design Articles. P. 27-41 V. V. N. 2 December 1997.

BOMFIM, Gustavo A.. COUTO, Rita M. S., OLIVEIRA, Alfredo J. (Orgs.) Coordenadas cronológicas e cosmológicas como espaço das transformações formais. P. 137-155. IN: Formas do Design – Por uma metodologia interdisciplinar. Série Design. PUC RIO. Rio de Janeiro: 2AB Publishing, 1999.

CHAUÍ, Marilena. Convite à Filosofia. São Paulo: Ática Publishing, 2000.

DO VAL, André. Não é nos desfiles que vamos encontrar as respostas para nossas dúvidas em moda masculina, dizem especialistas. Avaiable at: http://chic.ig.com.br/les-chics/noticia/ nao-e-nos-desfiles-que-vamos-encontrar-as-respostas-para-nossas-duvidas-em-moda-masculina-dizem-especialistas. Accessed on April 11th 2013.

EISENSTEIN, Sergei. POTEMKIN, O Encouraçado (Bronenosets Potyomkin). Diretor: Sergei Eisenstein, Grigori Aleksandrov; Written by: Nina Agadzhanova, Nikolai Aseyev, Sergei Tretyakov. Drama. Histórico. Long-Film. Recorded on 35 mm. Black and White. (75 minutes). Mute. Russia, 1925.

GONZÁLEZ, Horácio. A Revolução Russa. São Paulo: 1st Edition. Moderna Publishing, 1986.

HOBSBAWN, Eric. A Era dos Extremos: O Breve século XX 1914-1991. São Paulo: 10th Edition. Companhia das Letras Publishing, 2008.

KRIPPENDORF, Klaus. O Design centrado no ser humano. IN: Estudos em Design. P. 87-98. V.8 N.3, Rio de Janeiro. September 2000.

LIMA, Gabriel. A tendência dos e-commerces masculinos. Avaiable at: http://www.ecommercebrasil.com.br/artigos/a-tendencia-dos-ecommerces-masculinos/. Acessed on April 12th 2013.

MERLO, Márcia; NAVALON, Eloize. Processos projetuais para a criação em Design de Moda: pesquisas teóricas e referenciais. IN: Anais do 9º Congresso de Pesquisa e Desenvolvimento em Design. P. 2296 -2307. São Paulo. October 2010.

101 Literature References

MOREIRA, Daniela. Imigrantes ultra qualificados dão lições aos brasileiros. Avaiable at: http://exame.abril.com.br/revista-voce-sa/edicoes/178/noticias/pense-como-um-imigrante.

Acessed on April 11th 2013.

NAVALON, Eloize. Design de Moda: Interconexão Metodológica. 2008. 103 f. Dissertação (Mestrado em Design) – Postgraduated Program on Stricto Sensu, Anhembi Morumbi University, São Paulo. 2008.

OSTERWALDER, Alexander; PIGNEUR, Yves. Business Model Generation – Inovação em Modelos de Negócios: um manual para visionários, inovadores e revolucionários. Rio de Janeiro. Alta Books Publishing. 2011.

QUALMAN, Erick. Socialnomics. Wiley Publishing. New Jersey, USA. 2010.

REIS, Daniel A. Rússia (1917-1921) – Anos Vermelhos. São Paulo: 3rd Edition. Brasiliense Publishing. 1987.

TROTSKY, Leon. A História da Revolução Russa – Tomo 2. São Paulo: 1st Edition. Sundermann Publishing, 2007.

ANEXXES

103 Anex I

Target Audience Results A) What media do you consume most? Give examples E-mails and news pages and search, facebook|facebook, mobiles phones, Blog|facebook, television|Facebook and television|JOURNAL, TELEVISIONO, FACEBOOK E MAGAZINES|Journal (eletronic), Television (a lot), Facebook (a lot) andposts by e-mail | facebook, twitter, UOL | facebook, twitter, instagram | Sites Fashion | Twitter Facebook RSS Feed Newspapers printed Journals | TV, facebook | Newspapers, television, magazine, facebook, news sites | TV, radio, internet, facebook, twitter |. Newspapers, site news, tv | news sites of my interest.

B) You are adept at online shopping? If not, say why. If yes, what usually buy?

Books, cds, electronics | Yes, shoes and perfumes. | Yes, electronics |. Yeah, I like to do in some respects, they are trusted me | YES, Appliance, PERFUME AND CLOTHING | Yes, Buy all possible. The internet is the first place I look for deals. In general, prices are more affordable and there is the convenience of receiving the product at home, which saves good hours of the day | yes, skateboard materials, clothes, books, DVDs, perfumes. | Yes | Yes Electronics | Yes. Usually buy technology accessories (covers, cables, adapters, brackets, etc.). | Yes, random materials.

C) Do you have favorite brands?

Obey, Apple, Nike SB, Lacoste LIVE, Adidas Original, Stussy, Ford, Honda, Casio, MonsterNão.Dudalina, Forum, Apple, Kenzo, Ellus, TNG, AMP, Colcci, Rockstter, Rich, Neutrogena, MAC, Korda.mishka, vans, topmanNãoApple, Onitsuka Tiger, Volkswagen, Marc Jacobs. sim! bape, diamond, nike, air jordan, obey, levis, supreme.. e etc!AlgumasMarcas de skateNão exatamente, gosto de coisas que me façam sentir a vontade, confortavel!Sim Nike, Adidas,Roca Wear.CanonNão.naosim, algumasNAOAlgumas: Adidas, Cavalera, João Pimenta, Chili Beans, etc.DGK, Nike SB, Öus, Evolution, Adidas e Diamond.Sim.Apple, Zara.

D) What annoys you most in a garment?

Sewing poorly made, bad tissue, with poor quality print | fade if lavada.Tecidos that warm muito.aviamento large, pattern with the brand name, unnecessary pockets. | Price, Fabric | Fabric bad, ruim.tecido cutting pattern , size. | fabric and cut of the garment | Many details | the bad finishing, because the clothing is sometimes not perfect but it has a nice finish on the body is not good Being in the wrong person |! not wear well on the court or bust hip | Court poorly done, two tissue frágil.os | LINGERIE MODEL WITH eVIL dONE Finishing and bad stuff.

E) What can not miss in your wardrobe?

Colors | Pants jeans.t-shirt, jeans and shorts | knit pant | Colorful Stockings, shoes, sunglasses and assorted jackets (coats, jackets, etc.) shoes and backpack |! Shorts and baggy jeans mt

Anexo I 104

destroyed. tshirts | T-white shirt, jeans and tennis mass. | Casual Clothing. | Parts I can use in many different situations. | Dresses, skirts and blusas.camisetas | Tennis F) What colors and tones predominate in your wardrobe?

All | Red preto.azul, white and stripes | WHITE, YELLOW AND BLUE | I have many clothes in neutral tones, but a wide range in misturadas.cinza and white colors. | The neutras.preto | White, black and blue. | White, Black | branco.Preto, | white, gray and some colored | White and Black G) What are your references for consumption? sites like hypebeast, hypebr, mazeskateshop, sneakerbr, homemmoderno, cranny, illustrated style ... and magazines: HQ, Sneakerbr, UMAG .... http://images.asos.com/inv/media/6/3/8/4/2144836/image4xxl.jpg http://images.asos.com/inv / media/5/6/2/2/2182265/ image4xxl.jpg http://images.asos.com/inv/media/2/9/6/2/1962692/image4xxl.jpg | fashion Magazines, websites moda.sites streetstyle and tumblr, designspiration sites. | netrevistas, websites, blogs, skateboarding, rap magazines ... | Related skateboard to skateboard sites | internet site now has a specific’m not always end up on different websites, blogs or tumblr .

H) Have a habit of leisure? If yes, what?

Bike, coffee, drawing | Watch series. | Yes, Writing stories and about economics, readings, walks in parks and urban areas, theater, film and photography. | European Watch Movie | No | No | Skateboard .. | Reading | Yes, I beat.cinema, cold beer with friends, beach | Yes, fora.ver movies and eating out at night | NO |. walk and read. | skateboarding, movies and family barbecue | Yes Cinema.balada | Yes Pedaling. Play guitar. physical outdoor exercises, walking in natural environments little movement | Yes Gather friends to do a jam session. | Read, watch filmes. sports practice, cinema ...

I) You like to make visits to museums, exhibitions? If yes, what were the last we visited?

Visited the exhibition on 100 years of Jorge Amado in Pelourinho | no | yes., Instituto Ricardo Brennand | no | NO | Yes, very. 3M shows of digital, Carlos Cruz-Diez in the Pinacoteca do Estado, FILE in SESI.Mube, Muse - RJ | My center is the skate.Gosto, but not usually go | MASP | Only when there are actually relevant exposures, the! that hardly happens here in Recife. In São Paulo went to one of Escher’s last time I visited the city. In Canada, I went to one of Leonardo da Vinci. (last time I went to a museum, 2 months ago) |. yeah, unfortunately none in recent times | Yes The last was the Let’s Rock.

J) Where you usually buy your clothes?

Need conquer me, when meeting a need, go out hunting, when the clinical gaze hits, then the choice is made | Stores departamento.shopping | various stores | TYPE IN MAGAZINES RE-

105 Anexo I

NER | In-store | Login to:.. Ccs.com , skatewarehouse.com gallery of rock skateshop secrecy, to leave out: Osklen, Zara and levis to work: whatever | Animale, Zara and all the other department stores | department Stores, fastfashion | Malls.. Shopping:. Zara Stores, funny t-shirts | depends on the occasion and need, like cheap and effective (for the day-to-day) | Osklen, Mandi & Co, Ellus, Cavalle ...

K) Would you like to buy somewhere else?

Yeah, do not hold me in one place | Depends, if the clothes are pretty, dress well and have good quality, | yes |. Both times fazas | Yes | No | go to buy |! Not. | No | Yes H & M, Forever XXI, Urban Outfitters, BangOné quite possible, but you can not say it’s a Deseejo | Never thought about it. | No |. Street trading | No L) Which trip(s) that you consider memorable or that it was somehow important to your life and / or career?

Trip to Serra da Capybara opportunity to have contact with the records of the earliest civilizations, breathing history pura.Disney, Argentina, England and went pro Roma.quando Acre, and spent six years there.The forest amazônicaA DISNEY ORLANDO WITH MY FILHASAlemanha Republic Republic, Italy, from January 2012 França.Rio tried my first contract! think all in every corner of the country you take a reference that gives culture to adapt to a collection by exemplo.viagem to sao paulo to make a course Interexchangeo of 6 months in the Canadá. as I went with less money, more friends, and more.

M) You usually go to musical events (concerts, festivals)? What are the styles that suits you?

MPB, Rock, Samba | No |. CostumoMPB no | NO | Yes, Rock & Roll and Indie.sim pagoda and rap | No. | Electronic ballad | whenever possible. My favorite style is the rock (and its variations) |. FIGaranhuns, from reggae, rock brazilian, mpb and samba root when it is | Yes | No has a specific style | Yes. I like MPB, pop, rock, samba |. Yeah, rock and MPB | Yes Rock N) What are the last 3 movies you watched?

To Rome With Love, Last Tango in Paris; Documentary about Tom Jobim - marked Meeting Pretty little liars The Avengers, Thor and Donnie Darko, The Avengers, Q Area, Our LarNAO REMEMBER BECAUSE watch EVERY DAY ON PAY TV, Faust, The dictator, Tomboy. protecting the enemy, Tarzan, Ice Age 4. Beyond the classroom. And then, did you? Coco before Chanel. the glass house, the origin and forgotten me 3, Batman - The Dark Knight Margin Call Time Medosou over series ... The Dictator, Batman and A couch for dois. Breaking the Bank, Always by your side and The Devil Wears Prada. fever mouse dictation ...

O) What are the last three books you’ve read?

Anex I 106

The act of shooting; Image and Memory; Memorie Collective | I have spoken up! | Dangerous Minds, Farewell China and The Death and Life of Charle Saint Cloud | LIFE OF CHANEL - HISTORICAL POLICY PERNAMBUCOO remorse Baltazar Serapion (Valter Hugo Mãe), Story of Hair (Alan Pauls), Design for a complex world (Rafael Cardoso) . | 8ps digital marketing, design thinking and Lean Canvas.Vitrina. A walk to remember. Lawyer Deus.Freakonomics Business Management, Bhagavad Gita .... scholars of anatomy and physiology count?| A large fair; Modern photography in Brazil.

P) Have a project in mind?

Yes, projects involving urban fashion and creating for print scarves and fabrics. | Backpacking through South America | Project on starting a blog about economic journalism and backpacked through Latin America. | no | Morar study out of Brazil |. currently not yes! still developing more | Just working and studying | develop my Scientific Initiation in the area of ​​International Relations, and one day reach Diplomacy |! working at home is the great design | will define the project that I am mind with words Fernando Pessoa: Is there a time when you have to abandon the clothes, which already has the shape ...

Q) If you want to identify only leave your email or link to your profile in a social network (facebook etc) kymkoba@yahoo.com.br|http://www.facebook.com/thiago.carvalho.7505|Raoni.sp2@hotmail.com|laisprhc@gmail.com|https://www.facebook.com/srosa.oliveira|sarynhaaaa@hotmail. com|itanselmo@hotmail.com|https://www.facebook.com/jobamoco|http://twitter.com/pelenight|carnierbeatriz@hotmail.com|http://www.facebook.com/miguel.l.r.leao|Raphael Buffone.

107 Anex II

Technical Data Sheets

Anexo II 108

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 1 Modelo: 001/1

X Top

Bottom

One Piece

Descrição: Jaqueta - corpo em jeans com manga em sarja ocre, bolso direito longo, bolso esquerdo pequeno plissado.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Vista com colchete de pressão embutido

Bolso drapeado

Costas Recorte

Pesponto com vinco Observações: Jaqueta em jeans, manga em sarja, acabamento com viés de algodão, vista com colchete de pressão embutido.

Jaqueta corpo - Jeans.

Jaqueta manga - Sarja Ocre.

Abertura com botão embutido

109 Anexo II

TECIDOS Nome

Composição

Sarja

100% algodão

Fornecedor Santanex

Jeans

100% algodão

Tavex

Nome Viés

Composição 100% algodão

Fornecedor Santanex

Linha

100% Poliéster

Fio

100% Poliéster

Colchete de pressão

Liga de latão

MILWARD

Cor

Preço

R$ 10,65 Ocre Azul indico R$ 14,90

AVIAMENTOS

Quant.

Consumo

Preço

2,50 m

0,80 cm

R$ 8,59

2m

5m

R$ 29,80

Preço R$ 6,50

Quant.

1m

Consumo 1m

Preço R$ 6,50

Setta

Azul e ocre R$ 2,40

1829m

10,27 m

R$ 0,013

Setta

Azul e ocre R$ 2,12

5800m

35,06 m

R$ 0,012

R$ 0.30

24 un.

4 un.

R$ 1,20

Cor Ocre

Preto

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 110

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 1 Modelo: 001/2

X Top

Bottom

One Piece

Descrição: Camisa de tricoline branco com detalhes em azul.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Recorte

Vista com colchete de pressão embutido Pesponto com vinco

Costas

Recorte

Pesponto com vinco

Observações: Camisa em tricoline,

detalhes em tricoline azul e corpo em tricoline branco, vista com colchete de pressão embutido Costura italiana, embutida.

Abertura de punho com colchete de pressão embutido

111 Anexo II

TECIDOS Preço

Quant.

Branco

R$ 7,60

1,50m

1,50 m

R$ 11,40

Azul

R$ 7,60

2m

0,50 cm

R$ 3,80

Fornecedor Setta

Cor Branco

Preço R$ 2,12

Quant.

5800m

Consumo 35,06 m

R$ 0,012

Setta

Branco

R$ 2,12

5800m

35,06 m

R$ 0,012

MILWARD

Preto

R$ 0.30

24 un.

8 un.

R$ 2,40

Composição

Fornecedor

Cor

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Composição

Nome

AVIAMENTOS

Nome Linha

100% Poliéster

Fio Colchete de pressão

100% Poliéster Liga de latão

Preço

Consumo

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 112

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 1 Modelo: 001/3

Top X Bottom

One Piece

Descrição: Calça em sarja ocre com dois bolsos embutidos e acabamento com viés de algodão.

Tamanho: 38

40 X

42

46

Foto/ Croqui do look

Desenho Técnico

Frente Bolso embutido

Vinco com pesponto

Bolso Costas

Barra 3 cm

Observações: Calça em sarja, dois bolsos na frente, bolso traseiro inteiro.

Calça em sarja ocre e acabamento com viés bege.

113 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 2 Modelo: 002/3

Top X Bottom

One Piece

Descrição: Calça em sarja cinza, bolsos embutidos com vivo drapeado e dois drapeados na altura do joelho.

Tamanho: 38

40 X

42

46

Foto/ Croqui do look

Desenho Técnico

Frente Bolso embutido com vivo drapeado

Vinco com pesponto

Recorte drapeado Bolso Costas

Barra 3 cm

Observações: Calça em sarja, bolso com vivo drapeado e dois drapeados na altura do joelho.

Calça em sarja cinza e acabamento com viés cinza.

Anexo II 114

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

100% algodão

Santanex

Cinza

R$ 9,50

2m

2m

R$ 19,00

Composição 100% algodão

Fornecedor Santanex

Cor Bege

Preço R$ 6,50

Quant.

1m

Consumo 1m

Preço R$ 6,50

Linha

100% Poliéster

Setta

Cinza

R$ 2,40

1829m

10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Cinza

R$ 2,12

5800m

35,06 m

R$ 0,012

Botão metal

Liga de latão

YKY

Prata

R$ 0.30

24 un.

1 un.

R$ 1,20

Ziper

Metal

YKY

Cinza e dourado

R$ 0,50

1 un.

1 un.

R$ 0,50

Nome Sarja AVIAMENTOS

Nome Viés

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

115 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 2 Modelo: 002/2

X Top

Bottom

One Piece

Descrição: Camisa de tricoline azul.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Recorte

Vista com colchete de pressão embutido

Pesponto com vinco

Costas Recorte

Pesponto com vinco Observações: Camisa em tricoline azul com vista com colchete de embutido.

Costura italiana, embutida.

Abertura de punho com colchete de pressão embutido

Anexo II 116

TECIDOS Nome Tricoline

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

100% algodão

Cataquase

Azul

R$ 7,60

1,50m

1,50 m

R$ 11,40

Composição

Preço

AVIAMENTOS

Preço

Preço

Nome Linha

100% Poliéster

Fornecedor Setta

Cor Azul

R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Azul

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

8 un.

R$ 2,40

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

117 Anexo II

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Top X Bottom

One Piece

Descrição: Calça em sarja cinza, bolsos embutidos com vivo drapeado e dois drapeados na altura do joelho.

Tamanho: 38

40 X

42

46

Foto/ Croqui do look

Desenho Técnico

Frente Bolso embutido com vivo drapeado

Vinco com pesponto

Recorte drapeado Bolso Costas

Barra 3 cm

Observações: Calça em sarja, bolso com vivo drapeado e dois drapeados na altura do joelho.

Calça em sarja cinza e acabamento com viés cinza.

Anexo II 118

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

100% algodão

Santanex

Cinza

R$ 9,50

2m

2m

R$ 19,00

Nome Viés

Composição 100% algodão

Fornecedor Santanex

Cor Bege

Preço R$ 6,50

Quant.

1m

Consumo 1m

Preço R$ 6,50

Linha

100% Poliéster

Setta

Cinza

R$ 2,40

1829m

10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Cinza

R$ 2,12

5800m

35,06 m

R$ 0,012

Botão metal

Liga de latão

YKY

Prata

R$ 0.30

24 un.

1 un.

R$ 1,20

Ziper

Metal

YKY

Cinza e dourado

R$ 0,50

1 un.

1 un.

R$ 0,50

Nome Sarja AVIAMENTOS

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

119 Anexo II

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PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 3 Modelo: 003/1

X Top

Bottom

One Piece

Descrição: Blazer com manga de cor/tecido diferente (jeans e sarja), corpo em sarja, com dois botões quadrados.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Botão de lona encerado

Pesponto com vinco

Costas Recorte

Pesponto com vinco

Observações: Blazer forrado, manga lateral frente e costas em denim.

Costura embutida.

Blazer corpo - Sarja.

Blazer manga lateral - Denim.

Forro - Tafetá Azul.

Fenda

Abertura com botão embutido

Anexo II 120

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

100% algodão

Santanex

Caqui

R$ 9,70

2m

2m

R$ 19,40

Nome Viés

Composição 100% algodão

Fornecedor Santanex

Cor Bege

Preço R$ 6,50

Quant.

1m

Preço R$ 6,50

Linha

100% Poliéster

Setta

Caqui

R$ 2,40

1829m

Consumo 1m 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Caqui

R$ 2,12

5800m

35,06 m

R$ 0,012

Botão metal

Liga de latão

YKY

Prata

R$ 0.30

24 un.

1 un.

R$ 1,20

Ziper

Metal

YKY

Caqui e dourado

R$ 0,50

1 un.

1 un.

R$ 0,50

Nome Sarja AVIAMENTOS

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

121 Anexo II

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X Top

Bottom

One Piece

Descrição: Camisa de tricoline cinza com detalhes em branco.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Recorte

Vista com colchete de pressão embutido Pesponto com vinco

Costas

Recorte

Pesponto com vinco

Observações: Camisa em tricoline,

corpo em tricoline cinca e detalhe em branco, vista com colchete de pressão embutido Costura italiana, embutida.

Abertura de punho com colchete de pressão embutido

Anexo II 122

TECIDOS Nome

Composição

Tricoline Tricoline

100% algodão 100% algodão

Fornecedor Cataquase

Cor Branco

Preço

Quant.

R$ 7,60

Cataquase

Cinza

R$ 7,60

Cor Cinza

Preço R$ 2,40

Quant.

1829m

Cinza

R$ 2,12

Preto

R$ 0.30

AVIAMENTOS

Composição

Nome Linha

100% Poliéster

Fio

100% Poliéster

Fornecedor Setta Setta

Colchete de pressão

Liga de latão

MILWARD

Preço

2m

Consumo 0,50 cm

R$ 3,80

2m

1,50 m

R$ 11,40 Preço

Consumo

R$ 0,013

5800m

10,27 m 35,06 m

24 un.

8 un.

R$ 2,40

R$ 0,012

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

123 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 3 Modelo: 003/3

Top X Bottom

One Piece

Descrição: Calça em sarja caqui com bolso faca e vinco na frente e traseira.

Tamanho: 38

40 X

42

46

Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso faca embutido

Vinco com pesponto

Bolso Costas

Barra 3 cm

Observações: Calça em sarja, com bolso faca, pesponto formando vinco frente e costas.

Calça em sarja caqui acabamento com viés bege.

Anexo II 124

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

100% algodão

Santanex

Caqui

R$ 9,70

2m

2m

R$ 19,40

Nome Viés

Composição 100% algodão

Fornecedor Santanex

Cor Bege

Preço R$ 6,50

Quant.

1m

Preço R$ 6,50

Linha

100% Poliéster

Setta

Caqui

R$ 2,40

1829m

Consumo 1m 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Caqui

R$ 2,12

5800m

35,06 m

R$ 0,012

Botão metal

Liga de latão

YKY

Prata

R$ 0.30

24 un.

1 un.

R$ 1,20

Ziper

Metal

YKY

Caqui e dourado

R$ 0,50

1 un.

1 un.

R$ 0,50

Nome Sarja AVIAMENTOS

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

125 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 3 Modelo: 003/4

Top X Bottom

One Piece

Descrição: Saia envelope com dois colchetes de pressão - um no cós e um na altura do quadril.

Tamanho: 38

40 X

42

46

Desenho Técnico

Foto/ Croqui do look

Frente Colchete de pressão embutido Botão de lona encerado

Costas

Observações: Saia em sarja ocre.

Acabamento com viés bege.

Botão de lona encerado.

Anexo II 126

TECIDOS Nome

Composição

Fornecedor

Cor

Preço

Quant.

Sarja

100% algodão

Santanex

Ocre

R$ 10,65

2m

Nome Viés

Composição 100% algodão

Fornecedor Santanex

Cor Bege

Preço R$ 6,50

Quant.

1m

Linha

100% Poliéster

Setta

Ocre

R$ 2,40

Fio

100% Poliéster

Setta

Ocre

R$ 2,12

Botão metal

Liga de latão

YKY

Prata

R$ 0.30

Preço

Consumo

R$ 10,65

1m

AVIAMENTOS

Preço R$ 6,50

1829m

Consumo 1m 10,27 m

R$ 0,013

5800m

35,06 m

R$ 0,012

24 un.

1 un.

R$ 1,20

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

127 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 4 Modelo: 004/1

X Top

Bottom

One Piece

Descrição: Camisa com manga curta - corpo em jeans com gola em sarja cinza e detalhes em sarja caqui.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente 11 cm Bolso Pesponto com vinco

Recorte Vista com colchete de pressão embutido

Costas Recorte

Pesponto com vinco

Observações: Camisa com manga curta, recortes e quatro (4) bolsos na frente, acabamento com viés de algodão e vista com colchete de pressão embutido.

Camisa corpo - Jeans.

Camisa gola - Sarja cinza.

Camisa detalhes - Sarja caqui.

Anexo II 128

TECIDOS Nome Sarja

Composição

Fornecedor

100% algodão

Santanex

Jeans

100% algodão

Tavex

Sarja

100% algodão

Santanex

Composição 100% algodão

Linha Fio Colchete de pressão

Liga de latão

Preço

Quant.

R$ 9,70

5m

Azul indico R$ 14,90

Cor Caqui

Preço

Consumo 0,50 cm

R$ 4,85

5m

1,20 m

R$ 17,88

Cinza

R$ 9,50

6m

0,50 cm

R$ 4,75

Fornecedor Santanex

Cor Cinza

Preço R$ 4,00

Quant.

10 m

Preço R$ 2,00

100% Poliéster

Setta

Azul

R$ 2,40

1829m

Consumo 5m 10,27 m

R$ 0,013

100% Poliéster

Setta

Azul

R$ 2,12

5800m

35,06 m

R$ 0,012

MILWARD

Preto

R$ 0.30

24 un.

4 un.

R$ 1,20

AVIAMENTOS

Nome Viés

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

129 Anexo II

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 4 Modelo: 004/2

Top X Bottom

Descrição: Bermuda em sarja vermelha.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

Botão de metal Bolso

Barra 3 cm

Costas

Bolso

Observações: Bermuda em sarja vermelha, acabamento com viés de algodão.

One Piece

Anexo II 130

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Top X Bottom

One Piece

Descrição: Calça em sarja vermelha - Complemento da bermuda (ficha 004/2) - Um unico cós.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Vinco com pesponto

Costas

Barra 3 cm

Observações: Calça em sarja vermelha, acabamento com viés de algodão. Cós costurado junto com o da bermuda.

131 Anexo II

TECIDOS Nome Sarja

Composição

Fornecedor

100% algodão

Santanex

AVIAMENTOS

Nome Viés

Composição 100% algodão

Linha

100% Poliéster

Fio Botão Zíper

100% Poliéster Liga de latão

Metal

Preço

Preço

Quant.

Consumo

Vermelho R$ 10,65

7,50 m

2,80 m

R$ 21,00

Preço Fornecedor Cor Santanex Vermelho R$ 4,00

Quant.

10 m

Consumo 10 m

Preço R$ 4,00

Setta

Vermelho R$ 2,40

1829m

10,27 m

R$ 0,013

Setta

Vermelho R$ 2,12 R$ 7,50 Prata

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

3 un.

1 un.

R$ 0,62

YKY YKY

Cor

Prata/ vermelho

R$ 1,86

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 132

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 5 Modelo: 005/1

X Top

Bottom

One Piece

Descrição: Jaqueta - corpo em jeans com detalhe na manga e na parte inferior do corpo da jaqueta em sarja vermelha.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente 11 cm

Bolso

Vista com colchete de pressão embutido Pesponto com vinco Bolso

Costas

Recorte Pesponto com vinco

Recorte

Observações: Jaqueta jeans com bolsos, detalhes em sarja vermelha, acabamento com viés de algodão e vista com colchete de pressão embutido.

Jaqueta corpo - Jeans.

Jaqueta detalhes - Sarja vermelha.

Abertura de punho com colchete de pressão embutido

133 Anexo II

TECIDOS Nome

Composição

Fornecedor

Sarja

100% algodão

Santanex

Jeans

100% algodão

Tavex

Nome

Composição

Fornecedor

Viés Linha

100% algodão

Santanex Setta

AVIAMENTOS

100% Poliéster

100% Poliéster Fio Colchete de pressão Liga de latão

Quant.

Consumo

Preço

Vermelho R$ 10,65

7,50 m 5m

1m 1,20 m

R$ 10,65

Azul indico R$ 14,90

Preço Cor Vermelho R$ 4,00 R$ 2,40 Azul

Quant.

Consumo

Preço

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Cor

Preço

R$ 17,88

Setta

Azul

R$ 2,12

5800m

35,06 m

R$ 0,012

MILWARD

Preto

R$ 0.30

24 un.

6 un.

R$ 1,80

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 134

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 5 Modelo: 005/2

Top X Bottom

One Piece

Descrição: Calça em sarja caqui.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso embutido

Vinco com pesponto

Recorte

Costas

Barra 3 cm

Observações: Calça em sarja caqui com recorte na altura do joelho, bolso traseiro longo e acabamento com viés de algodão.

Calça - Sarja caqui.

Bolso

135 Anexo II

TECIDOS Cor Caqui

Preço

Quant.

R$ 9,70

5m

Consumo 1,80 m

Cor Caqui Caqui

Preço

Quant.

Consumo

Santanex Setta

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Setta

Caqui Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m

YKY YKY

1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Composição

Fornecedor

100% algodão

Santanex

Nome

Composição

Fornecedor

Viés Linha

100% algodão

Nome Sarja

AVIAMENTOS

Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

Prata/ caqui

Preço R$ 17,46

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 136

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 6 Modelo: 006/1

X Top

Bottom

One Piece

Descrição: Blazer em sarja marrom e com recortes em sarja caqui e ocre.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Recorte

Botão de lona encerado com um colchete de pressão por dentro.

Bolso Pesponto com vinco

Costas Recorte

Pesponto com vinco

Observações: Blazer em sarja marrom, recortes em sarja caqui e ocre e forrado com cetim usado ao avesso.

Fenda

Abertura com botão embutido

137 Anexo II

TECIDOS Nome

Composição

Cor Caqui

Sarja

100% algodão

Fornecedor Santanex

Sarja

100% algodão

Santanex

Sarja

100% algodão

Santanex

Sarja

100% algodão

Santanex

Cinza

Cetim

100% Poliester

Sunrain

Composição 100% Poliéster

100% Poliéster Fio Liga de latão Colchete de pressão

Quant.

Preço

Consumo

Preço R$ 7,76

5m

0,80 cm

5m

1,80 m

R$ 13,50

4m

0,80 cm

R$ 8,52

R$ 9,50

6m

0,50 cm

R$ 4,75

Cinza

R$ 3,00

3,5 m

2m

R$ 6,00

Fornecedor Setta

Cor Marrom

Preço R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Setta MILWARD

Marrom

R$ 2,12

Preto

R$ 0.30

5800m 24 un.

35,06 m 2 un.

R$ 0,012 R$ 0,60

R$ 9,70

Marrom R$ 7,50 Ocre R$ 10,65

AVIAMENTOS

Nome Linha

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 138

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 6 Modelo: 006/2

X Top

Bottom

One Piece

Descrição: Camisa de tricoline com detalhe na vista.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente 11 cm

Recorte

Vista com colchete de pressão embutido

Pesponto com vinco

Costas

Recorte Pesponto com vinco

Observações: Camisa de tricoline em sarja caqui e ocre, gola caqui, costura embutida.

Abertura de punho com colchete de pressão embutido

139 Anexo II

TECIDOS Nome

Composição

Cor Caqui

Quant.

100% algodão

Fornecedor Cataquase

Preço

Tricoline

R$ 6,00

1,50 m

1m

R$ 6,00

Tricoline

100% algodão

Cataquase

Ocre

R$ 6,90

2,50 m

1m

R$ 6,90

Composição

Fornecedor Setta

Cor Caqui

Preço R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

AVIAMENTOS

Preço

Consumo

Preço

Nome Linha

100% Poliéster

Fio

100% Poliéster

Setta

Caqui

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

8 un.

R$ 2,40

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 140

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 6 Modelo: 006/3

Top X Bottom

One Piece

Descrição: Calça em sarja vermelha.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso faca embutido

Detalhe drapeado

Vinco com pesponto

Bolso Costas

Barra 3 cm

Observações: Calça em sarja vermelha com detalhe drapeado, bolso faca e bolso traseiro simples.

Acabamento com viés de algodão.

Calça - Sarja vermelha.

141 Anexo II

TECIDOS Nome Sarja

Viés Linha Fio Botão Zíper

Preço

Fornecedor

100% algodão

Santanex

Vermelho R$ 10,65

7,50 m

Composição

Fornecedor

Consumo

Santanex Setta

Preço Cor Vermelho R$ 4,00 Vermelho R$ 2,40

Quant.

100% algodão

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Vermelho R$ 2,12 R$ 7,50 Prata

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

3 un.

1 un.

R$ 0,62

AVIAMENTOS

Nome

Preço

Composição

100% Poliéster 100% Poliéster Liga de latão

Metal

Setta

YKY YKY

Cor

Prata/ vermelho

Quant.

R$ 1,86

Consumo

R$ 22,50

3m

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 142

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 7 Modelo: 007/1

X Top

Bottom

One Piece

Descrição: Calça em sarja vermelha.

Tamanho: 36-38 39-40 42-46 48-50 X

Frente

Desenho Técnico 11 cm

Foto/ Croqui do look

Recorte Vista com colchete de pressão embutido Pesponto com vinco Colchete de pressão embutido

Bolso

Costas

Recorte Colchete de pressão embutido Bolso

Pesponto com vinco

Observações: Casaco longo abaixo do quadril, com bolso - altura do blazer e bolso nas costas. Corpo sarja cinza, gola e manga nas cores marrom e caqui. Forrado com cetim cinza, usado do lado avesso e botões de pressão de metal.

143 Anexo II

TECIDOS Nome

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

Sarja

100% algodão

Santanex

Caqui

R$ 9,70

5m

1m

R$ 9,70

Sarja

100% algodão

Santanex

Marrom

R$ 7,50

5m

1m

Sarja

100% algodão

Santanex

Cinza

R$ 9,50

6m

2,50 m

R$ 7,50 R$ 23,75

Cetim

100% Poliester

Sunrain

Cinza

R$ 3,00

3,5 m

2,50 m

R$ 7,50

Nome Linha

Composição 100% Poliéster

Fornecedor Setta

Cor Cinza

Preço R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio Colchete de pressão

100% Poliéster Liga de latão

Setta MILWARD

Cinza

R$ 2,12

Preto

R$ 0.30

5800m 24 un.

35,06 m 9 un.

R$ 0,012 R$ 2,70

AVIAMENTOS

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 144

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8 º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 7 Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 7º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 8 Modelo: 008/2

Top X Bottom

One Piece

Descrição: Calça em sarja cinza com prega para dentro na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal

Bolso faca embutido

Vinco com pesponto

Prega

Bolso

Costas

Barra 3 cm

Observações: Calça em sarja cinza com prega para dentro na altura do joelho, bolso faca e bolso traseiro simples.

Acabamento com viés de algodão.

Modelo: 007/2

X Top

Bottom

One Piece

Descrição: Camisa de tricoline com detalhe drapeado na frente.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente 11 cm

Recorte

Vista com colchete de pressão embutido

Pesponto com vinco Drapeado

Costas

Recorte Pesponto com vinco

Observações: Corpo da camisa em tricoline branco, manga e gola em tricoline vermelho e detalhe drapeado na frente em tricoline cinza. Costura embutida e vista com botão de pressão embutido.

Abertura de punho com colchete de pressão embutido

145 Anexo II

TECIDOS Nome

Composição

Preço

Quant.

R$ 7,90

1,50 m

1m

R$ 7,90

5m

1m

R$ 6,80

1m

R$ 6,90

Tricoline

100% algodão

Fornecedor Cataquase

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Cinza

R$ 6,90

3,50 m

Composição

Preço

Cor Branco

Vermelho R$ 6,80

AVIAMENTOS

Preço

Consumo

Preço

Nome Linha

100% Poliéster

Fornecedor Setta

Cor Branco

R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Branco

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

6 un.

R$ 1,80

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 146

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 7 Modelo: 007/3

Top X Bottom

One Piece

Descrição: Calça em sarja cinza com prega para dentro na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso faca embutido

Vinco com pesponto

Prega Bolso

Costas

Barra 3 cm

Observações: Calça em sarja cinza com prega para dentro na altura do joelho, bolso faca e bolso traseiro simples.

Acabamento com viés de algodão.

147 Anexo II

TECIDOS Nome Sarja

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

100% algodão

Santanex

Cinza

R$ 9,50

7,50 m

1,50 m

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

100% algodão

Santanex Setta

Cinza Cinza

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Setta

Cinza Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

AVIAMENTOS

Nome Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

YKY YKY

Prata/ Cinza

Preço R$ 14,25

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 148

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 8 Modelo: 008/1

X Top

Bottom

One Piece

Descrição: Parka com capuz em sarja caqui com detalhes em sarja branca.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Capuz 11 cm Recorte Vista com colchete de pressão embutido Colchete de pressão embutido Pesponto com vinco

Bolso

Capuz

Costas

Recorte Colchete de pressão embutido Bolso

Pesponto com vinco

Observações: Parka com capuz em sarja caqui.

Bolso, detalhe na frente, detalhe atrás e parte de dentro do capuz em sarja branca. Forrado com cetim azul usado do lado avesso.

149 Anexo II

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Sarja

100% algodão

Santanex

Caqui

R$ 9,70

5m

1,50 m

R$ 14,55

Sarja

100% algodão

Santanex

Branco

1m

1m

R$ 8,36

Cetim

100% Poliester

Sunrain

Azul

R$ 8,36 R$ 3,00

Composição

Nome

Preço

Consumo

3,5 m

2,50 m

R$ 7,50

AVIAMENTOS

Preço

Preço

Nome Linha

100% Poliéster

Fornecedor Setta

Cor Caqui

R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Caqui

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

10 un.

R$ 3,00

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 150

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 8 Modelo: 008/2

Top X Bottom

One Piece

Descrição: Calça em sarja ocre com recortes e pregas em jeans na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso embutido

Vinco com pesponto Recorte Drapeado Bolso

Costas

Barra 3 cm

Observações: Calça em sarja ocre com pregas e recortes em jeans na altura do joelho, bolso embutido e bolso traseiro simples. Acabamento com viés de algodão.

151 Anexo II

TECIDOS Composição

Fornecedor

Cor

Preço

Quant.

Consumo

Preço

Sarja

100% algodão

Santanex

Ocre

R$ 10,65

4m

R$ 14,25

Jeans

100% algodão

Tavex

Azul indico R$ 14,90

5m

1,50 m 0,60 cm

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

100% algodão

Santanex Setta

Ocre Ocre

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Setta

Ocre Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Nome

AVIAMENTOS

Nome Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

YKY YKY

Prata/ Ocre

R$ 8,94

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 152

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 9 Modelo: 009/1

X Top

Bottom

One Piece

Descrição: Camisa em tricoline com drapeado.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

11 cm Recorte Drapeado

Vista com colchete de pressão embutido Pesponto com vinco

Costas

Recorte Pesponto com vinco

Observações: Camisa em tricoline, corpo em tricoline cinza, drapeado em tricoline azul e detalhes em tricoline vermelho.

Abertura de punho com colchete de pressão embutido

153 Anexo II

TECIDOS Nome

Composição

Preço

Quant.

R$ 6,90

2,50 m

1m

R$ 6,90

5m

1m

R$ 6,80

1m

R$ 6,90

Tricoline

100% algodão

Fornecedor Cataquase

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Cinza

R$ 6,90

3,50 m

Composição

Preço

Cor Azul

Vermelho R$ 6,80

AVIAMENTOS

Preço

Consumo

Preço

Nome Linha

100% Poliéster

Fornecedor Setta

Cor Cinza

R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Cinza

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

6 un.

R$ 1,80

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 154

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 9 Modelo: 009/2

Top X Bottom

One Piece

Descrição: Calça em jeans com bolso da frente continuando no bolso traseiro.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso faca embutido

Vinco com pesponto

Bolso

Costas

Barra 3 cm

Observações: Calça em jeans com bolso seguindo o bolso traseiro.

Acabamento com viés de algodão.

155 Anexo II

TECIDOS Nome Jeans

Composição

Fornecedor

100% algodão

Tavex

Composição

Fornecedor

Cor

100% algodão

Santanex Setta

Azul Azul

Setta

Azul Prata

Cor

Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

YKY YKY

Quant.

Prata/ Azul

Preço

5m

Consumo 1,60 cm

Preço

Quant.

Consumo

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Azul indico R$ 14,90

AVIAMENTOS

Nome

Preço

R$ 23,84

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 156

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 10 Modelo: 010/1

X Top

Bottom

One Piece

Descrição: Camisa de tricoline com gola «tipo» marinheiro.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico 11 cm Recorte

Frente

Vista com colchete de pressão embutido Pesponto com vinco

Costas

Gola Recorte Pesponto com vinco

Observações: Camisa em tricoline cinza, com detalhes em tricoline marrom, ocre e vermelho.

Abertura de punho com colchete de pressão embutido

157 Anexo II

TECIDOS Nome

Composição

Cor

Preço

Quant.

Consumo

Preço

Marrom

R$ 6,90

2,50 m

0,50 cm

R$ 3,45

5m

0,50 cm

R$ 3,40

R$ 6,90

3,50 m

1m

R$ 6,90

0,05 cm

R$ 3,45

Tricoline

100% algodão

Fornecedor Cataquase

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Ocre

R$ 6,90

2,50 m

Composição

Preço

Vermelho R$ 6,80 Cinza

AVIAMENTOS

Preço

Nome Linha

100% Poliéster

Fornecedor Setta

Cor Cinza

R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Fio

100% Poliéster

Setta

Cinza

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

6 un.

R$ 1,80

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 158

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 10 Modelo: 010/2

Top X Bottom

One Piece

Descrição: Calça em sarja cinza com recortes na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso embutido

Recorte Vinco com pesponto Recorte Bolso

Costas

Barra 3 cm

Observações: Calça em sarja cinza com drapeado na altura do joelho, bolso embutido e bolso traseiro simples.

Acabamento com viés de algodão.

159 Anexo II

TECIDOS Nome Sarja

Composição

Fornecedor

Cor

Preço

Quant.

100% algodão

Santanex

Cinza

R$ 9,50

6m

Composição

Fornecedor

Cor

Preço

Quant.

Consumo

100% algodão

Santanex Setta

Cinza Cinza

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Setta

Cinza Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

AVIAMENTOS

Nome Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

YKY YKY

Prata/ Cinza

Preço

Consumo

R$ 17,10

1,80 m

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 160

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 11 Modelo: 011/1

X Top

Bottom

One Piece

Descrição: Camisa em tricoline azul, marrom e vermelho com três bolsos.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico 11 cm

Frente

Recorte

Bolso Bolso embutido

Vista com colchete de pressão embutido Pesponto com vinco Bolso partindo da lateral

Costas

Recorte Pesponto com vinco Prega para fora

Observações: Camisa em tricoline azul, marrom e vermelho com três bolsos, dois na altura do peito e um partindo da lateral.

Abertura de punho com colchete de pressão embutido

161 Anexo II

TECIDOS Cor

Preço

Quant.

Consumo

Preço

Marrom

R$ 6,90

2,50 m

0,80 cm

R$ 5,52

Nome

Composição

Tricoline

100% algodão

Tricoline

100% algodão

Cataquase

Tricoline

100% algodão

Cataquase

Azul

Composição

Fornecedor Setta

Cor Azul

Fornecedor Cataquase

5m

0,50 cm

R$ 3,40

R$ 6,90

2,50 m

1m

R$ 6,90

Preço R$ 2,40

Quant.

1829m

Consumo 10,27 m

R$ 0,013

Vermelho R$ 6,80

AVIAMENTOS

Preço

Nome Linha

100% Poliéster

Fio

100% Poliéster

Setta

Azul

R$ 2,12

5800m

35,06 m

R$ 0,012

Colchete de pressão

Liga de latão

MILWARD

Preto

R$ 0.30

24 un.

6 un.

R$ 1,80

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 162

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 11 Modelo: 011/2

Top X Bottom

One Piece

Descrição: Calça em sarja marrom com drapeado.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso faca embutido

Drapeado Vinco com pesponto

Bolso

Costas

Barra 3 cm

Observações: Calça em sarja marrom com drapeado na frente, na lateral até o meio da calça com prega, bolso faca e bolso traseiro simples.

Acabamento com viés de algodão.

163 Anexo II

TECIDOS Nome Sarja

Composição

Fornecedor

100% algodão

Santanex

Composição

Fornecedor

Cor

AVIAMENTOS

Nome Viés Linha Fio Botão Zíper

100% algodão 100% Poliéster 100% Poliéster Liga de latão

Metal

Santanex Setta Setta

YKY YKY

Preço

Quant.

5m

Marrom R$ 7,50

Preço

R$ 19,50

2,60 m

Quant.

Preço

Consumo

Preço

Cor Marrom Marrom

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Marrom Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Prata/ Marrom

Consumo

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 164

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 12 Modelo: 012/1

X Top

Bottom

One Piece

Descrição: Camisa em tricoline vermelha com gola em tricoline marrom.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente 11 cm

Recorte

Prega macho Vista com colchete de pressão embutido

Pesponto com vinco

Costas

Recorte Prega macho Pesponto com vinco

Observações: Camisa em tricoline vermelho com duas pregas macho na frente e uma na frente. Gola em tricoline marrom.

Abertura de punho com colchete de pressão embutido

165 Anexo II

TECIDOS Cor

Preço

Quant.

Consumo

Preço

Marrom

R$ 6,90

2,50 m

0,30 cm

R$ 2,07

5m

1,50 cm

R$ 10,20

Preço Fornecedor Cor Vermelho R$ 2,40 Setta Vermelho R$ 2,12 Setta

Quant.

1829m

Consumo 10,27 m

R$ 0,013

5800m

35,06 m

R$ 0,012

R$ 0.30

24 un.

6 un.

R$ 1,80

Nome

Composição

Tricoline

100% algodão

Fornecedor Cataquase

Tricoline

100% algodão

Cataquase

AVIAMENTOS

Composição

Nome Linha

100% Poliéster

Fio

100% Poliéster

Colchete de pressão

Liga de latão

MILWARD

Vermelho R$ 6,80

Preto

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Custo

Costas do look Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

1hr e 15min

Anexo II 166

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 12 Modelo: 012/2

Top X Bottom

One Piece

Descrição: Calça em jeans com três drapeados espaçados na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Bolso embutido

Vinco com pesponto

Drapeado ‘espaçados’

Costas

Barra 3 cm

Observações: Calça em jeans com drapeado espaçado na altura do joelho, bolso embutido e bolso traseiro simples. Acabamento com viés de algodão.

Bolso

167 Anexo II

TECIDOS Nome Jeans

Composição

Fornecedor

100% algodão

Tavex

Composição

Fornecedor

Cor

100% algodão

Santanex Setta

Azul Azul

Setta

Azul Prata

Cor

Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

YKY YKY

Quant.

Prata/ Azul

Preço

5m

Consumo 1,80 cm

Preço

Quant.

Consumo

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Azul indico R$ 14,90

AVIAMENTOS

Nome

Preço

R$ 26,82

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anexo II 168

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 13 Modelo: 013/1

X Top

Bottom

One Piece

Descrição: Pelerine em sarja ocre com detalhe do bolso em sarja vermelha.

Tamanho: 36-38 39-40 42-46 48-50 X

Desenho Técnico

Foto/ Croqui do look

Frente

11 cm

Vista com colchete embutido Recortes Pesponto com vinco Bolso embutido

Costas Recortes

Observações: Pelerine em sarja ocre com detalhe do bolso vermelho, forro em cetim vermelho usado do lado avesso.

169 Anexo II

TECIDOS Nome

Composição

Cor

Preço

Quant.

Consumo

Preço

Ocre

R$ 10,65

4m

2m

R$ 8,59

Vermelho R$ 10,65

7,50 m

0,50 cm

R$ 22,50

Vermelho R$ 3,00

3,5 m

2,50 m

R$ 7,50

Preço Fornecedor Cor Azul e ocre R$ 2,40 Setta

Quant.

1829m

Consumo 10,27 m

Preço R$ 0,013

Azul e ocre R$ 2,12

5800m

35,06 m

R$ 0,012

R$ 0.30

24 un.

4 un.

R$ 1,20

100% algodão

Fornecedor Santanex

Sarja

100% algodão

Santanex

Cetim

100% Poliester

Sunrain

Sarja

AVIAMENTOS

Nome Linha

Composição 100% Poliéster

Fio

100% Poliéster

Setta

Colchete de pressão

Liga de latão

MILWARD

Preto

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: Luzia Augusto.

Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

Tempo gasto

Overloque

1hr e 15min

Anexo II 170

Universidade Anhembi Morumbi - Escola de Arquitetura, Artes, Design e Moda Curso Design de Moda Alice Marinho de Araújo, Gabriela Liberato dos Santos.

PESQUISA E PROJETO TRANSDISCIPLINAR EM ARTES, DESIGN E MODA - 8º PERÍODO DESIGN DE MODA, ARTE E TECNOLOGIA Coleção: CONSTRUÇÃO DE POSSÍVEIS LEITURAS - Outuno / Inverno 2013 Look nº: 13 Modelo: 013/2

Top X Bottom

One Piece

Descrição: Calça em sarja marrom com um 1/2 de uma saia na altura do joelho.

Tamanho: 36-38 39-40 42-46 48-50 X Foto/ Croqui do look

Desenho Técnico

Frente

Botão de metal Colchete de pressão Bolso faca embutido ‘Meia’ saia saindo da lateral

Vinco com pesponto

Bolso

Costas

Barra 3 cm

Observações: Calça em sarja marrom com 1/2 de uma saia na altura do joelho, bolso faca e bolso traseiro simples.

Acabamento com viés de algodão.

171 Anexo II

TECIDOS Nome Sarja

Composição

Fornecedor

100% algodão

Santanex

Composição

Fornecedor

100% algodão

Santanex Setta

Cor

Viés Linha Fio Botão Zíper

100% Poliéster 100% Poliéster Liga de latão

Metal

Setta

YKY YKY

Quant.

5m

Marrom R$ 7,50

AVIAMENTOS

Nome

Preço

Preço

Consumo

R$ 21,00

2,80 m

Cor Marrom Marrom

Preço

Quant.

Consumo

R$ 4,00 R$ 2,40

10 m 1829m

10 m 10,27 m

R$ 4,00 R$ 0,013

Marrom Prata

R$ 2,12 R$ 7,50

5800m 10 un.

35,06 m 1 un.

R$ 0,012 R$ 0,75

R$ 1,86

3 un.

1 un.

R$ 0,62

Prata/ Marrom

Preço

AMOSTRAS AVIAMENTOS

MODELAGEM Modelista responsável: José Angelo Costas do look

Custo

Mão de obra

R$ 125,00

Bordado Estamparia Confecção Etapa

Tempo gasto

Overloque

5 min

Reta Modelagem

30 min 30 min

Corte

10 min

Tempo Total: OBSERVAÇÕES:

1hr e 15min

Anex III 172

Statement of Review

173