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Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
ANALYSIS OF LEARNING OF THE ROCOCÓ STYLE BY KNOWLEDGE MANAGEMENT
Cleuza Bittencourt Ribas Fornasier (Universidade Estadual de Londrina) [email protected]
Ana Paula Perfetto Demarchi (Universidade Estadual de Londrina) [email protected]
Abstract: The article presents a review of the knowledge management of two students learning from different contexts. We intend to prove scientifically that for the production of trusted costumes museum, which allow easier integration of knowledge, the knowledge of the styles is necessary because they facilitate the learning of Fashion History. Supported by illustrations theory favors the knowledge production, ensuring that the costumes faithfully reproduce the aesthetic context. Key Words: Fashion history; Marie-Antoniette d’Austriche; museum costumes.
Introduction
To perform this experiment two Fashion Design’s students were chosen which did not
know fashion history. They should choose different clothing descriptions presented in the book
"Queen of fashion: what Marie Antoinette wore to the revolution" (WEBER, 2010). After, they will
perform miniaturized prototypes, worrying about the formal play, but without concern for textile
playback. The research was proposed so that we could analyze semantically the building of
prototypes by the connection of previous personal knowledge (both have basics of modeling, but
had no knowledge of fashion history), with the knowledge that they had at the time, i.e. the
description of the clothing in the book in question and at different times should study the then-
current style.
The construction of these prototypes aims to optimize the integration of knowledge of style,
since access to original period costumes in Brazil is impractical, through these we plan to offer a
cognitive experience to experience the three-dimensional object. The first student will build
prototypes without studying the prevailing style; the second will study the style and then perform
the prototypes. Both students also will write an article reporting the experiments and analyzing
the trustworthiness, being that this material and the prototypes carried out were sources for this
article.
The goal of the research is to check how the scientific initiation students use their
experiences to build the prototypes of clothing from description of the piece and not only for
images, which would be normal. Thus, semantically analyze this activity, assuming the image, to
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
a student not connoisseur, has relevance in the way that learns the formal aspects of each period
of fashion history. For this, we discuss the concepts of knowledge management (KM),
considering how the individual for the production of new knowledge uses knowledge, and how the
learning process is involved in this process. The study of KM we use as a reference for
comparison of the processes of conversion of the knowledge of the two students.
The exploratory qualitative research will be used, with the ethnographic method with
participant observation (the authors participate as adjuncts of the experimentation process),
execute the search of cohort, with constructivist approach of the learning process. The prototypes
made will be shown; descriptions and analyses will be performed.
Knowledge management
Based on the new knowledge management, when the KM is a production process and
integration of knowledge, we believe that this occurs from the active management of design
thought cycles (a cycle = divergence, transformation divergent, transform pure, and
convergence), discussed in Demarchi (2011) and Fornasier (2011), which drives the systemic
and complex evolution of knowledge with knowledge periodic reductions. We know that the
reductions, when overused, distort and modify the original knowledge, which can be unwanted,
however, the question is still under studies.
Table 1: The 4Es of spaces of production knowledge
Knowledge intersection
Design Thinking
cycles
Sub process actions
Externalization Divergence
Transf. divergent
Extracts the explicit knowledge and the cultural environment and articulates with the latent needs of the subject. When sharing, acquires another knowledge, or changes the beliefs and values rooted (subjective knowledge).
Explicitation Transf. pure
Convergence
Summary of observations and experiences held to be grouped and formulated other knowledge, from the reduction of knowledge.
Experimentation Divergence
Transf. divergent
Transf. pure /Convergence
Process of systematization of concepts into a knowledge system. Uses different creative and experimental skills.
Strategy Divergence
Transf. Divergent /Transf.
pure /Convergence
Progressive Reduction process to come up with an alternative strategy that will be a knowledge explained.
Source: Demarchi; Fornasier; Martins, 2013.
We know that the production of a new knowledge occurs from the extraction and
conversion of five knowledge (of the individual), presented by Fornasier (2011), which are
subjective, tacit, objective, cultural and explicit. These knowledge are related to the five
environmental knowledge (the same) articulated in four possible intersection of knowledge
spaces, table 1, which are the essence of the process of production of knowledge.
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
Those four spaces form the creative thinking process full of production of knowledge, i.e.
occurs the divergence, transformation divergent, transform pure and convergence. However,
externalization and the explicitation form a cycle of creative thinking and experimentation and
strategic, table 1, form two other cycles, thus, defined only in the production of knowledge there
are three complete cycles of creative thinking (DEMARCHI; FORNASIER; MALIK, 2013). We
know that the knowledge integration occurs when there is active learning developed in
accordance with the goals and intentions of the individual, who learns to move beyond the
original targets.
Table 2: The 4Is of the spaces of knowledge integration
Knowledge intersection Design Thinking cycles Sub process actions
Internalization Divergence
Transf. divergent
Reconfiguration of pre-existing cognitive map in the individual, from an
information or other knowledge to be learned.
Interaction T Tansf. pure
Convergence
Develops both, visions shared among individuals, as a coordinated action
of the knowledge to be learned.
Institutionalisation Do not apply Process that ensures that the learned knowledge is transformed and
reduced the foreground object (product) and explicit (standards).
Inter organization Do not apply Uses the objective knowledge and explained by modifying them or starting
others.
Source: Demarchi; Fornasier; Martins, 2013.
The learning process only form a cycle of creative thinking on the knowledge integration,
table 2, divided between the first two spaces of internalization and interaction. Despite still not
having been sufficiently researched by the authors, the following space, the institutionalization, do
not form a cycle of creative thinking, but we believe they are ascending spirals of learning. The
result is a reduction of knowledge, if well performed, formulate tangible products as intangible,
that will become knowledge objectives, and the explicit knowledge that will normalize the
processes.
When objectives and explicit knowledge achieve notoriety is called inter organization
space, table 2 above. Other individuals or organizations absorb them to internalize the knowledge
(return the first phase of the Integration of knowledge) through learning processes, in the
sequence occurs the reduction of knowledge, when this is modified according to the installed
culture. Can also occur when attempting to institutionalize the original knowledge, since, without
any cycle of creative thinking, there is no change in individuals ' cultural awareness, which could
be disastrous. In addition, one can and should choose to start another cycle for the production of
knowledge, from the definition of a new problem based on the knowledge in question.
We understand that no process or theory is more correct than the other is; each has its
importance in certain situations, the interesting thing is the connection with the skills Facilitator
agent features are related with the ability to acquire knowledge and skills, which modify the
attitudes of the apprentice. Learning is measured by the performance before the action to be
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
developed, taking into consideration the knowledge used by the apprentice, the variables chosen
and the solutions.
The agent’s trainees, students, had no knowledge about the Rococo artistic style and
fashion of the time of Marie Antoinette, therefore, on separate occasions had to research and
write. It was not a deep research, here she was recast and completed sorting the existing styles
and fashions applied.
Over The Rococó: 1730-1790
The France dictated the fashion for the Western world and the Rococo style was present in
major social and behavioral modifications, which appeared in 1730. Originally from French
rocaille (incrustation of shells), the new style represented the monarchy of Louis XV, He was
playful and decorative and allowed changes in fashion helped by the insertion of textile innovation
(COSGRAVE, 2005). The gala costume female Court of Versailles was cut in silks, taffeta and
Brocade and exhibited an impressive silhouette even though extremely stylized. In 1750, was
synonymous with exuberance, refinement and lightness mainly from the surface (BOUCHER,
2010). In 1770 the extravagance and excess of Rococo is replaced by the Exoticism that
demonstrated the dissatisfaction of the bourgeoisie by the monarchy (COSGRAVE, 2005).
The Exotism represents the fascination with strange habits and exotic foreign costumes. At
this time, European markets were constant exchanges of goods with the Orient, this Exchange
and the desire for different influencing fashion, decorative arts, architecture and the fabrics
produced in Lyon, imitations of the Oriental since the Baroque style, but now this reinterpretation
produces an eclectic style admired by wealth and quality.
In 1775 the French admired the superb English apparent freedom begin to reject the
extravagances of the monarchy and in 1778 a fluid manner with clear and light fabrics, more flush
with the body without embellishments. At the same time introduced at the Court of Versailles the
same vestments used by Americans in the war of independence, therefore, abandon their corsets
with fins, panniers and any other excess in tissues or props and naturalism (COSGRAVE, 2005),
this shows that the period of Marie Antoinette goes beyond the Rococo.
From Grand Habit de Cour to Redingote
According to Giorgetti (1992), was institutionalized by Luis XIV Grand Habit de Cour and
the Robe de Cour they were the women's clothing for use at the Court of Versailles. Keep the
same costumes items Baroque style: corset, skirt, and coat with distinct characteristics and
subject to periodic changes, used in Royal ceremonies.
Moda Documenta: Museu, Memória e Design – 2015
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The bodice becomes the French corset used not only internally, so, it was apparent, closed
by laces in back, but some were closed on the sides (BÖUCHER, 2010). Fair, with low neckline,
structured by fins, internally lined with cotton, shoulder pad, well tied, covered in fabric and
lavishly adorned (KÖHLER, 2001). Consisted of a structure of fins, that through the years could
be separated from skirt around all over body and flattening the bust. On top, a firm wire kept the
convex form suitable for not showing her breasts. To increase the stiffness, longitudinal and
transverse fins on the bottom doubly reinforced the top bar, on the lower bar there was a beak in
the Center (GIORGETTI, 1992).
The pannier possibly has its origins in the coarse Calico starched petticoats that actresses
wore with the purpose of letting the waist too thin. Entered the fashion around 1720 and remained
until after 1770, making part of the Robe de la Court (BÖUCHER, 2010). Even in the time of
Louis XV, started getting bigger, reaching the maximum size around 1725, was when the lower
arc used to have five to six meters in circumference and the above three meters. The pannier
(basket) was an accessory that structured skirt, giving it volume just below the waist. Over the
years, to bring more comfort and mobility created the pannier retractable (KÖHLER, 2001). There
are several formats, the less graceful elliptical, was more pronounced on the sides of the waist,
used for social activities in 1740. Split into two, one for each side of the waist, i.e. to the side of
the skirt was the same size of user's extended arms. Marie Antoinette (1755-1793) lived with the
model since childhood, because when she was at the Austrian Court, was dressed according to
French fashion.
Around 1750, the bodice robe ronde (a dress open from the waist down) was always in
front and could have a pièce d estomac, i.e. a separate triangle shaped triangle that held the
bust, which was placed under the dress (BÖUCHER, 2010). The bodice is fair and mostly open in
front, leaving the bobbies appear triangular closing the bodice by their sides. Stitched separately
from the bodice, skirt had an opening in the rear, and was partially visible in front because it was
superimposed by the shawl or dress made with same or different fabrics (RUPPERT, et al.,
1996).
The robe or dress had a body to the waist and skirt that stitched formed a part, on top of a
skirt. The body formed both the neckline shoulder to shoulder, as the square neck that today we
call cleavage to pompadour, breast above the horizontal trounced, the sides climbed the
shoulders straight making an angle with just under ninety degrees; also used the neckline with
wider angle, or even in "V". This body would not close in front, so the bodice was apparent, and
often had only the pièce. The sleeves off the shoulder fair on cavas, opening slightly at the
elbows, sometimes in this cap was adorned with two to three symmetrical pleats lace ruffles
called pagoda, these to be detachable when washed, were called engageantes (BÖUCHER,
2010). The sleeves could be covered by ribbons, lace, bows, flowers so that harmonising with the
set. The fabrics used were full-bodied like jacquard, brocades, linen, with floral motifs and soft
colours represented the playful situations, the joie de vivre and the sensual pleasures.
Moda Documenta: Museu, Memória e Design – 2015
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The robe volante, or sackback, or dress bag (1730-1755) emerged at the end of the reign
of Louis XV, when women wanted more comfort (LAVER, 1989). This dress has pleats on the
back that fall into evasê since the neckline of the neck and shoulders to the hemline. Could be
one, two, or three vertical pleats, which are disappearing by the use of circular and giving pannier
volume of a bag on the back (BÖUCHER, 2010). The front of the dress was open in body and
fixed by the sides in a triangle that was apparent pièce, the skirt could be opened or closed in
front, the important thing is that you have a lot of volume. Some sleeves with vertical pleats that
give volume and other coming from cava fair and after opening in flare turned a wide cuff that
would appear the ruffles of lace (GIORGETTI, 1992).
The robe à la française (1755-60) is the decrease in the volume of the robe volante, but
increases the adornments of the surface of the fabric with lace, ruffles, laces, ribbons and
flowers. Formed by a coat open or closed front forming the "Vs", the superior has the basis of
waist and opens up to her breasts, let appear the pièce d’estomac being by your side closing coat
body (COSGRAVE, 2005). The other "V", this time inverted, open from the waist to the floor and
let appear the skirt that can be of the same fabric of the coat. On the back of the body, since the
neckline "double round ruffles that distribute the amplitude of the back to the floor [...]"
(BÖUCHER, 2010, p. 265) in the form of train, but that do not increase the volume from the waist
but protrudes as the previous model, i.e. the figure kept with small waist and hips extended. This
was the outfit that historically solidified the early Rococo and was personified by Madame de
Pompadour (1721-1764), one of the mistresses of Louis XV of France (1710-1774).
In 1770, the robe l’inglaise used in daily life was a single piece, a bodice with seams
stooped and thus more flexible, on the back end at the waist in tip and closed in front. In the
back, the neckline was low to the neck, in front in V or round rather low. The skirt with a small tail
formed a volume by pleats from waist, and fake ass under the back of the skirt that formed a
volume greater than in front (COSGRAVE, 2005).
In 1775, there were successions of fashions, originated from political facts and even gave
rise to the travel robes a la: Polish, Turkish, Levite, levantina, Circassian, sultana. The robe à la
polonaise, released by Marie Antoinette, in 1775, and also known as robe à la reine, divided the
over skirt in three sides, in a reference to the dismemberment of Poland in three separate
provinces (Prussia, Austria and Russia). This had sliding beads that allowed the suspension and
the flap around the hips, of each of the three sides ornamented by necklaces, tassels and other
finishes. Under the robe had a petticoat made of circular layers of starched cotton, with ruffles on
the bars (BOUCHER, 2010). Instead of dragging the ground, allowed the exposure of ankles and
feet, a hip on the back of the dress (WEBER, 2008) gave the volume. A rigid choker called
“Archdukes” bordered the cava of the sleeves.
By 1778, the dresses with simple shapes and flexible are fashionable, as is the case of the
chemise (BOUCHER, 2010). Large it could be dressed by the head or feet, worn with or without a
corset without fins, the belt is a scarf that made him frown, made with silk gauze, muslin or cotton
usually white, with frilly sleeves that were three rounded shapes on the forearm through the
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moorings or sewing. Marie Antoinette wore it the first pregnancy in 1778 the robe a la levita was a
chemise with a wide and loose collar shawl, used with the track loose (COSGRAVE, 2005).
Redingotes was the culmination of consumerism among the women of time and made part
of anglomania from 1780. Some times are open at the front, which is the most common case,
others times are closed entirely buttoned (RUPPERT et al., 1996), except large buttons had few
ornaments, lapels and cuffs of contrasting colors and subtle embroidery on fabric, long as much
as the underskirt (WEBER, 2008). Marie Antoinette faced the challenges of countering the Court
standards, and who contributed to the diffusion of this sets based on male costumes, as well as
the use of justaucorps (riding costume) retelling of the masculine. Boucher (2010) called it, the
tunic, with gallons and trimmings, open or closed to the waist and open after her until her hips
ever forming a large inverted V, underneath a buttoned vest in front, a wide skirt shut behind that
covered the feet. This costume and the chemise will influence the revolutionary costume, even
with all the criticism of these by the fashion.
METHODOLOGY
First, we present the theory we were building over time, on which we base the practical
research on the KM, after we reported the styles of fashions describing them. From the theories,
we performed a research of qualitative descriptive nature through the comparison of the two
works performed by the students. As a strategy built on ethnography, accompanying
systematically by means of observation and only when the students consulted us, we interfere in
the process. The design is the study of Ex-post-facto (from past events), for this, we describe the
actions taken by the students, and we're going to strengthen our analytical and synthetic profile of
designers analyzing synthetically the variables chosen and the solutions found by the students,
which are described in each situation, which will allow the analysis of learning of students.
DEVELOPMENT OF THE WORK OF THE FIRST STUDENT
This student chose five designated book descriptions without studying the current period,
and aimed to make the thumbnails: "[...] without studying the prevailing style in the period, only
the descriptions taken from corresponding image or not, then, will be studied the style and
checked if the thumbnails correspond aesthetically standardized fashion style at the time
"(LIPPEL and FORNASIER, 2013).
The first miniature was performed from this description: "[...] Marie Antoinette appears in
painting [Figure 2], performed by the artist Josef Krabtzinguer, from the waist up in a red
justacorpus androgen (the uniform of hunting in the Royal residence of Trianon), riding gloves
pigskin yellow and a tricorne hemmed of soutache gold [...] " (WEBER, p. 101).
Moda Documenta: Museu, Memória e Design – 2015
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The student performed the Velvet justacorpus hemmed with Golden trimmings, gold
buttons, patterned vest, white shirt with collar and puffed sleeves (Figure 1). Although in this case
the student have not only the description, as well as the figure of the model (explained), she
played correctly, because used inductive reasoning, ie. she was interpreting the self-induced way
that had access to the 1783 in the Weber book (Figure 3), namely, when she wore pants. Chose
this model because it was easier to establish strategies for building and wearability, since had
performed shirt, pants and jacket. In the construction of the thumbnail did not notice such details
as: the length of the vest, the length of the front of the justacorpus, the volume on the hip like a
skirt and not as a pair, the breast volume much lower than the volume of the hip. Just understand
the differences when she studied the period of fashion history, perceived the mistakes on the
prototype and describe it.
Figure 1: Justacorpus build by Lippel (LIPPEL e FORNASIER, 2013). Figure 2: Maria Antonieta by Josef Krantzinger, 1771. Palácio de Schonbrunn (PORTRAIT OF ROYALTY). Figure 3: Maria Antonieta by Luis-Auguste Brunn, 1783 (WEBER, 2008, prancha 6).
The second was also held for use in unofficial activities of the Palace of Versailles, where Marie Antoinette was among friends, described as follows
[...] In the summer of 1780, one of his favorite costumes for Trianon was one of white muslin chemise known as gaulle. This clothing was stuck on flexible fabric corsets were free of any other structural elements except one flashings collar closed with a ribbon, puffed sleeves signed by "bracelets" tape and a wide band at the waist. The costume was completed sometimes with a graceful white coat, others with a white fichu [...] (Weber, 2008, p.171).
Known as the chemise la reina Figure 4, was designed to be placed over his head without
structural elements, with frilly collar down, puffed sleeves and waist fixed with golden ribbons,
kind of embroidered white apron, but the real apron was very longer, unfortunately not appear
depicted in figure 5, but take for example the following figure 6.
Moda Documenta: Museu, Memória e Design – 2015
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The third miniature was chosen to be a full costume (Weber, 2008, p.214): "[...] What
would be the last of his grand evening dress, a purple satin dress over a white embroidered skirt
sequins and diamonds [...] "(1789). Made in purple figure 7 possui under white embroidered skirt
with sequins and 'diamonds', embroidered waist, whole body white embroidery, also embroidered
sleeve, square neckline well-adjusted to the body.
Figure 4: Gaulle dress country by Lippel (LIPPEL e FORNASIER 2013). Figure 5: Maria Antonieta wearing a gaulle, 1773 by Elisabeth Vigeé-Lebrun (PORTRAIT OF ROYALTY). Figure 6: Young lady with chocolate of Jean Etienne Liotard (LAVER, 1989, p. 138).
The student chose a description that is too shallow, however, a short sleeve under a Long
would not form a Gran Habit de la Court, not even a skirt without volume, for a full costume would
not exist without at least one filler, and even it was not with the exaggeration of Figure 8. the
neckline would be lower, possibly the shoulders would be similar, more appropriate would be
shown in Figure 9 below, the sleeves would be up to the elbow with tulle layered over it. When
we asked the student why he chose a model with little description, she said she thought it was
important to be the last dress, never expected to have so many options for its construction.
Figure 7: Evening dress by Lippel (LIPPEL e FORNASIER 2013). Figure 8 : Maria Antonieta of Élisabeth Vigée-Lebrun, 1779 (COSGRAVE, 2005, p. 168). Figure 9: Maria Antonieta by Alexandre Kucharsky, 1791 (PORTRAIT OF ROYALTY).
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The fourth is a striped dress, unusual for the aristocracy, as the stripe is designated to
those who are short of the social order, which the revolutionaries wanted to spread. "[...] States
that it adopted a tricolor costume: a blue striped dress and white headdress and white fichu, both
trimmed with red ribbons [...]" (Weber, 2008, p 248.).
This costume had the connotation of equality with the revolutionaries, who protected the
sovereign family. The miniature was done in blue and white striped, all trimmed with red
trimmings, skirt underneath in white cloth, with a rounded neckline, and well-adjusted to the body,
figure 10.
Figure 10: striped dress por Lippel (LIPPEL e FORNASIER 2013). Figure 11: Maria Antonieta with my book by Élisabeth Vigée-Lebrun. (PORTRAIT OF ROYALTY). Figure 12: Maria Teresa Carlota of France by Heinrich Friedrich Füger, 1795. (PORTRAIT OF ROYALTY).
The student points out that the bodice had a wrong construction on the back in shape and
size, the dress was not with the correct waist period, possibly induced by the current young
fashion. The dress armhole are wrong, because the modeling was not done as today. The fichu
was placed "in the pit of redingotes or open dresses, which was draped in order to swell the bust
and exaggerate the forms" ((BOUCHER, 2010, p.463). In addition, the neckline of the dress could
not appear because the fichu overlap it, as in the portrait of the daughter of Marie Antoinette
(figure 12 below)and the white headdress would be similar to the figure 11.
DEVELOPMENT OF THE WORK OF THE SECOND STUDENT
The second student aimed to "[...] check the descriptions of the clothes worn by Marie
Antoinette, who do not have pictures, the book [...] Caroline Weber (2008) and relate them with
clothes that are described in fashion history books [...], to produce some of the robes of Marie
Antoinette, after meeting them and interpret them "(MARIA and FORNASIER, 2013). Supported
by the research was possible formally represent the parts in scale. The student built four dresses
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described by Weber (2008), Grand Habit de Cassation, the Robe à la Française, the Robe à la
Polonaise and the Frock, all fundamentally with the pannier and the bodice as body structure.
The pannier (Figure 13) was developed with wires, raw cotton (calico), which approaches the
materials used, closed by the braided tape loops back and copper representing the fin structure
(Figure 14).
Figure 13: Pannier build by Maria (MARIA e FORNASIER, 2013). Figure 14: Bodice build by Maria (MARIA e FORNASIER, 2013). Figure 15: bodice 1770-1780 (LIFE JOURNAL).
The grand habit de cour (Figure 16) adorned with satin ribbons, the skirt balloon with
layers of voile, with generous neckline front and back leaving the horizontal shoulders, leaving
them the puffed sleeves ruffles with lace barred, and bodice fair satin to the waist, and front forms
a beak V.
The robe à la française (Figure 20) has just bodice, but formed by triangular pièce (Figure
18) adorned with white lace forming a princess neckline, skirt and shawl made of the same
brocade (fabric with designs worked on the loom); both pieces were widely used in early life and
reign of Marie Antoinette. The sleeves with engageantes represented by barred income,
diamante stones, representing the gems that adorned the robes of Marie Antoinette.
Figure16: Grand habit de cour by Maria (MARIA e FORNASIER, 2013). Figure17: Marie-Antoinette, Queen of France, in the grand habit de cour (LIFE JOURNAL). Figure18: Pièce d’estomac by Maria (MARIA e FORNASIER, 2013). Figura19: Pièce d’estomac (LIFE JOURNAL).
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On the back of the gown, made by the tail appears fold, which descends from the shoulder
to the ground, preventing the viewing of the waist (Figure 21). The fold held by student falls from
the neck as the steering wheel robe, a la française was lower rounded (Figure 23), leaving two
creases that give the skirt volume and forming tail (Figure 22).
Figure 20: front of the robe à la française by Maria (MARIA e FORNASIER, 2013). Figura 21: back of the robe à la française by Maria (MARIA e FORNASIER, 2013). Figura 22: Robe à la française (LIFE JOURNAL). Figura 23: back of the Robe à la française with two folds (LIFE JOURNAL).
After this phase, the queen starts its peak of influence, introduces the dress to the Polish
(Figure 24), inspired by the Polish division into three parts, represented by the three draped on
the back of the dress stand out, and they get to be the new trend. The construction of the robe a
la polonaise, began the printed circular petticoat matching the tissue protrudes, with ruffles at the
bar and bows ornaments and represented by Archduchess barred from lace and satin ribbon ties,
stand out with draping and the surcoat looser corsets that used in previous dresses
Figure 25 shows the same robe with small variations performed because the bodice
appears in inverted V from the neckline, noting that the neckline is more pronounced, but difficult
to perform in doll.
Figure 24: Robe à la polonaise by Maria (MARIA e FORNASIER, 2013). Figure 25: Robe à la polonaise (LIFE JOURNAL).
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Marie Antoinette also disseminated other costumes following male standards, in order to ride the
horses, the justaucorps and redingotes, jackets described by Weber (2008), which have simpler forms,
with collars and cuffs. Because of its importance, there was a turquoise redingotes described by Weber
(2008), represented with turquoise fabric (Figure 30), with front opening with golden acrylic buttons that
refer to metal buttons.
Figure 30: Redingote by Maria (MARIA e FORNASIER, 2013). Figure 31: Redingote (LIFE JOURNAL).
The collar and red handles contrast with the turquoise, and the skirt and blouse vest
cream color with applications that resemble the embroidered skirt described. As shown in the
figures the redingote has a larger opening from the waist, leaving her skirt appearing almost to its
side, plus the volume is larger by making a small tail, the construction seems more linked to the
Levite than the Redingote.
Comparatives Results
The first student had descriptions of the book, plus two illustrative tables have yet built all
wrong, without being aware of this difference. It happens because her focus was to reproduce the
described, who did not speak of the extent and volume of the skirts, not reported the use of the
corset underneath the different layers of clothing and the different modeling of the current.she
could only see the errors from the study of the period style, to write the article. Table 3 presents
the relationship of KM spaces with the actions taken by the first student and the consequent
learning.
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
Table 3: knowledge management of the first student
The student had greater difficulties associated their tacit knowledge, without the explicit
knowledge. With this, we have demonstrated that literary descriptions of clothes do not always
contribute to accurate reproduction, being necessary to know the current style for this, proving
the need for theoretical subjects before practice, since the classes present illustrations. The
student did not feel safe about their own knowledge because the explicit knowledge is reinforced
when applied, and when using inherent or learned skills to the construction of objective
knowledge, which guarantees the change of mind map and thus enhance learning. The second
student understands that the underwear is giving external format. First conducts studies of how
miniaturizes them. Comes to good results and begins the planning of external clothes. In the last
model performs some errors, probably because they are similar to each other for a beginner. In
Table 4, we present the list of KM spaces with the actions developed for the second student and
the consequent learning.
Spaces of the Knowledge Management
Description of the actions realized by the first student on the sub process
Knowledge and skills used
Externalization Choose the descriptions, verbalizes the justification of choices.
To formulate coordinated action shares with the teacher.
Extracts explicit knowledge. Articulates the cognitive map justified by what we already know. Shares knowledge in oral communication. Summarizes the observations, drawn explicit knowledge of the action to be developed, aided by subjective and tacit knowledge
Explicitation Reduces the knowledge and write the main goal
Experimentation From the modeling, technique (previous skill) performs
experiments. Sets techniques to perform the thumbnail. Does
the wearability and assembly.
Systematize concepts (subjective knowledge) from inductive reasoning in a tacit knowledge system. Uses the already learned experimental skills (modeling).
strategy Reduces the knowledge gained in the description of the
clothes, engage their knowledge of modeling to make the
thumbnail
Progressive reduction of explicit knowledge to come up with a strategy (objective knowledge), use the tacit knowledge to perform modeling
Internalization Study the style and compared with those performed thumbnails.
Review your concept about the style (modifies cognitive map).
Extract the explicit knowledge of reference books. Articulates them with their subjective knowledge, tacit and order (miniature) with the proposal. Shares, and get explicit knowledge. Change in the concept map. Summarizes the observations (reduces knowledge), groups and makes other objective knowledge. Develops tacit knowledge
Interaction Shows the teacher who has something that is not consistent and
realize the mistakes. Verbalizes doubts. Groups and wrongs.
Plan modification. Develops new products .
Institutionalisation Describes the work in the article. Reduces and formulate their knowledge explicit .
Inter organization Presents the article at a scientific meeting. Reduces the explicit knowledge into words .
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
Table 4: knowledge management of the first student
Spaces of the Knowledge Management
Description of the actions realized by the first student on the sub process
Knowledge and skills used
Externalization Study the proposed style in other references. Choose the
descriptions of the basic book and set with the teacher.
Shares the knowledge with the teacher to formulate
coordinated action.
Extracts explicit knowledge. Articulates the
cognitive map. Shares knowledge by oral
ability. Reduces the acquired knowledge.
Summarizes the observations. Formula
explicit knowledge: the objectives and
characteristics of the style. Explicitation Write the action and summarizes the theory of studied style.
Experimentation Believes that the development should start by internal robes.
From the modeling (prior skill) creates prototypes and
conducts trials of internal robes. Does the wearability and
assembly of products.
Change in the concept map. Systematizes
new tacit concepts and goals in a knowledge
system. Uses the already learned
experimental habilida-de (modeling)
strategy Checks for errors and successes, plans the modeling of
external garments according to the study period and builds the
outer garments miniaturized.
Reduces explicit knowledge and tacit
objectives to formulate strategies, modifies the
tacit knowledge to make the miniature
modeling
Internalization Describes the actions taken to spread the work and uses the
summary performed previously on the rococo style
she strengthens the cognitive map.
Develop shared visions between individuals.
Develops coordinated action of tacit
knowledge, objective and explicit. Interaction Spread in their classroom group and motivates another
student to help.
Institutionalisation Describes the work to the article. Verbalizes style features not
described in the basic book. Complete the information given
on the rococo style by the teacher in the classroom.
Systematize and tacit knowledge into explicit
goal from reduction of knowledge. Uses
communication skills and descriptive: written
and oral.
Inter organization Presents the article at a scientific meeting. Explains the work
without any difficulty.
Discuss in class the style and forms.
Uses oral skills to spread the tacit knowledge,
objective and explicit.
The two students attended the lecture, which was about the Rococo style, but the second
student was able to complete observations made by the teacher, drawing on the blackboard and
showing the importance of the bodice and pannier reproduction of the models
Finals considerations
Produce knowledge itself writing and voicing them is important, however, this does not
necessarily imply learning; therefore, the knowledge integration is essential in this context,
especially when it is supported by cycles of design thinking. For the second student was identified
that the clothes followed the court standards, so the name of the Grand Habit of Cour or the
Great Costume of Court did not cause estrangement, as well as the sequential changes in
women's clothing in a short period of time . For descriptions of Weber clothing reflects the culture
and changes in political and economic spheres, which the queen of fashion had no voice,
however, was expressed by appearance. For these factors, we see a huge change in dress
history, and the students understood the presence of trends and styles.
We conclude that for the effect learning the explicitation step should be well carried to the
point that the individual feel you have all the questions answered. In this context, the role model
Moda Documenta: Museu, Memória e Design – 2015
ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015
of period costume helped the students in the learning process, as had the experience of three-
dimensional manipulation of the product. Individuals when in possession of a large amount of
information should perform the synthesis of his thought and the conversion into concepts, and
then conduct experiments of the variables found, namely to carry out the models of the time as
learning strategy from the divergence, transformation convergent, transformation and divergence
of thought in a single product. As the first student had questions answered, she used inductive
reasoning, mainly because she should not seek other sources. But she only realized the error in
the three-dimensional reproduction, when she had opportunity to meet the style and when she
returned to the three-dimensional model understood her mistake and make effective the learning
process.
We also see that there was a change of mental model of the two students, however, only
one was able to satisfactorily perform the internalization and interaction with classmates,
explaining exactly the style, forms, and the differences between each model, for it she was able
to present the article she made in a manner clear and objective without any suffering or
nervousness.
References
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