{"created":"2023-05-15T13:15:34.098566+00:00","id":1949,"links":{},"metadata":{"_buckets":{"deposit":"6f5d97df-8188-4739-a45a-b6695c4db70a"},"_deposit":{"created_by":2,"id":"1949","owners":[2],"pid":{"revision_id":0,"type":"depid","value":"1949"},"status":"published"},"_oai":{"id":"oai:bunka.repo.nii.ac.jp:00001949","sets":["10:177:183:184"]},"author_link":["7132","7128","7125","7138","7130","7126","7139","7137","7131","7134","7127","7136","7135","7129","7133"],"item_8_alternative_title_19":{"attribute_name":"その他のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"On the Relation Between the Designing Process and the Post-Processing of Couture Maison in Milan　Influence That Manufacturing Process of Pret-A-Porter Exerts on Product Design"}]},"item_8_alternative_title_20":{"attribute_name":"タイトル（ヨミ）","attribute_value_mlt":[{"subitem_alternative_title":"ミラノ ノ クチュール メゾン ノ セッケイ カテイ ト アトコウテイ ノ カンケイ ニ ツイテ : プレタポルテ ノ セイゾウ コウテイ ガ セイヒン セッケイ ニ オヨボス エイキョウ"}]},"item_8_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2011-03-30","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"135","bibliographicPageStart":"124","bibliographicVolumeNumber":"2010","bibliographic_titles":[{"bibliographic_title":"服飾文化共同研究最終報告"}]}]},"item_8_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"Fashion business of Japan has low international presence. It kept being skillful in import and license business. However, these businesses don't have the scheme that sells fashion goods by the entrepreneur's positive creation in the global market. Then, one of the research themes is set to clarify the feature of the design and manufacturing process in Milan maison (Couture) based on a high creation The following matters turned out. A chief designer does a creative first design (initiation). Workers of the post-processing positively support the chief's design. Moreover, friendly interpretation to specifications is performed by them. The manufacturing process is executed under these situations. Next, reverse engineering was executed as for the denim suit of famous maison. Chief Designer will dares to use a special cloth (material) to achieve the targeted silhouette. This decision restricts Chief’s first design Chief is restricted by the manufacturing process. The sewn product is supplied to the washing processing. An unanticipated result often occurs in this process. The silhouette depends on this result. Chief can’t control the post-processing after the section of studio directly. In fact, this experiment result presumes that Chief will design within the range where the post-processing can be followed. In addition, Additionally, Process Experiment is executed in Milan and Tokyo. In this experiment, Fashion Designer plays the role of the chief designer in maison. She designs the product (fashion) to sold for buyers at exhibition (runway at fashion week). Pattern-Maker makes specifications and a prototype by the Designer's instruction like a chief modelist of atelier section in maison. The production prototype is produced by each examinee (manufacturing process company) in Milan and Tokyo based on the specifications and prototypes. Designer and Pattern-maker compare to estimate each production prototypes. It can be judged that this examinee in Japan understands the demand of maison (design specification) from the result of this experiment. In a word, the mass production along the intention of maison is possible.As a result, if the fashion business of Japan achieves the globalization as well as the pret-a-porter business of Maison of the luxury brand, a true obstruction factor can be presumed to be in the lack of the first design","subitem_description_type":"Abstract"},{"subitem_description":"日本のファッションビジネスの国際プレゼンスは低い。インポートやライセンスは得意だったが、事業者の積極的創造によるファッションを世界市場において販売するスキームを持たない。そこでリサーチテーマのひとつに高い創造意欲をもつミラノのメゾン（couture-maison）の設計製造工程の特徴を解明を掲げた。そして、以下のことが判明した。設計主務者（stilista，couturier，creative-director）の創造的な第1次設計（イニシエーション）、後工程の作業者らによる設計主務者の設計に対する積極的支持、仕様書類（specifications）に対する好意的解釈が存在し、そのうえで製造工程が稼動する。ついで、著名メゾンのデニムスーツをリバースエンジニアリング（解体・再現）した。設計主務者は狙ったシルエットを実現するために、あえて特殊な生地（材料）を用いた。この決定は設計主務者の一次設計を制約する。設計主務者は一次設計の後に続く製造工程に制約される。このデニムの場合、縫製された製品は洗い加工に供される。この工程では予期しない結果が起きることが多い。設計主務者が実現しようとするシルエットはこの結果に依存する。しかしながら、設計主務者はstudio部門以後の後工程を直接に制御できない。この実験結果は、設計主務者が事実上後工程がフォローできる範囲で設計せざるを得ないであろうことを推定させる。さらに、工程実験をミラノと東京で実施した。あるファッション設計者にメゾンの設計主務者のように設計する役割を依頼した。彼女は、展示会（ファッションウィークのランウェイ）でバイヤーに販売する製品（ファッション）を設計する。パタンナーはデザイナーの指示によりメゾンのアトリエ部門の上席モデリスタのように仕様書類と試作品（prototype）を作成する。その仕様書類と試作品にもとづき、ミラノと東京の各被験者（製造工程を有する会社）は量産見本（mass production prototype）を制作する。デザイナーとパタンナーは両被験者の量産見本を比較する。東京の被験者はミラノの被験者のようにメゾンの要求を理解できるであろうか。この実験によれば、日本の被験者（製造工程会社）はその要求（仕様書類）を理解できた。つまり被験者はメゾンの期待に応じた製造が可能である。また、ミラノ市場向けにメゾンレベルのプレタポルテを量産できる可能性がある。以上から、メゾンの設計主務者のプレタポルテ設計はstudio部門の後に続く製造工程の影響を受容しており（その意味ではきわめて合理的）、また、仮に日本のファッションビジネスがラグジュアリブランドのメゾンのプレタポルテ事業と同様に国際化を達成するならば、真の阻害要因は1次設計の欠如にあると推定できる。","subitem_description_type":"Abstract"}]},"item_8_full_name_2":{"attribute_name":"著者(ヨミ)","attribute_value_mlt":[{"nameIdentifiers":[{}],"names":[{"name":"オオタニ, ツヨシ"}]},{"nameIdentifiers":[{}],"names":[{"name":"イケダ, カズコ"}]},{"nameIdentifiers":[{}],"names":[{"name":"イサキ, ハルコ"}]},{"nameIdentifiers":[{}],"names":[{"name":"ショウダ, ヤスヒロ"}]},{"nameIdentifiers":[{}],"names":[{"name":"モリカワ, ヒデアキ"}]}]},"item_8_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{}],"names":[{"name":"Otani, Tsuyoshi"}]},{"nameIdentifiers":[{}],"names":[{"name":"Ikeda, Kazuko"}]},{"nameIdentifiers":[{}],"names":[{"name":"Isaki, Haruko"}]},{"nameIdentifiers":[{}],"names":[{"name":"Syoda, Yasuhiro"}]},{"nameIdentifiers":[{}],"names":[{"name":"Morikawa, Hideaki"}]}]},"item_8_subject_17":{"attribute_name":"日本十進分類法","attribute_value_mlt":[{"subitem_subject":"589.2","subitem_subject_scheme":"NDC"}]},"item_8_text_39":{"attribute_name":"その他の寄与者","attribute_value_mlt":[{"subitem_text_value":"信州大学繊維学部, 服飾文化共同研究拠点、文化ファッション研究機構、文化女子大学"},{"subitem_text_value":"文化女子大学服装学部, 服飾文化共同研究拠点、文化ファッション研究機構、文化女子大学"},{"subitem_text_value":"レナウン㈱, 服飾文化共同研究拠点、文化ファッション研究機構、文化女子大学"},{"subitem_text_value":"文化女子大学服装学部, 服飾文化共同研究拠点、文化ファッション研究機構、文化女子大学"},{"subitem_text_value":"信州大学繊維学部, 服飾文化共同研究拠点、文化ファッション研究機構、文化女子大学"},{"subitem_text_value":"Faculty of Textile Science & Technology, Shinshu University, Joint Research Center for Fashion and Clothing Culture, Bunka Fashion Research Institute, Bunka Women's University"},{"subitem_text_value":"Faculty of Clothing Science, Bunka Women’s University, Joint Research Center for Fashion and Clothing Culture, Bunka Fashion Research Institute, Bunka Women's University"},{"subitem_text_value":"RENOWN Incorporated, Joint Research Center for Fashion and Clothing Culture, Bunka Fashion Research Institute, Bunka Women's University"},{"subitem_text_value":"Faculty of Clothing Science, Bunka Women’s University, Joint Research Center for Fashion and Clothing Culture, Bunka Fashion Research Institute, Bunka Women's University"},{"subitem_text_value":"Faculty of Textile Science & Technology, Shinshu University, Joint Research Center for Fashion and Clothing Culture, Bunka Fashion Research Institute, Bunka Women's University"}]},"item_8_text_6":{"attribute_name":"引用","attribute_value_mlt":[{"subitem_text_value":"服飾文化共同研究最終報告 2010 （2011-03） pp.124-135"}]},"item_8_version_type_16":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"大谷, 毅"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"池田, 和子"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"伊崎, 晴子"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"正田, 康博"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"森川, 英明"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2020-06-23"}],"displaytype":"detail","filename":"011080210_14.pdf","filesize":[{"value":"281.0 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"011080210_14.pdf","url":"https://bunka.repo.nii.ac.jp/record/1949/files/011080210_14.pdf"},"version_id":"1a414bd5-148a-4b04-9ef0-e09f9d6964e6"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"research report","resourceuri":"http://purl.org/coar/resource_type/c_18ws"}]},"item_title":"ミラノのクチュールメゾンの設計過程と後工程の関係について : プレタポルテの製造工程が製品設計に及ぼす影響","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"ミラノのクチュールメゾンの設計過程と後工程の関係について : プレタポルテの製造工程が製品設計に及ぼす影響"}]},"item_type_id":"8","owner":"2","path":["184"],"pubdate":{"attribute_name":"公開日","attribute_value":"2011-10-07"},"publish_date":"2011-10-07","publish_status":"0","recid":"1949","relation_version_is_last":true,"title":["ミラノのクチュールメゾンの設計過程と後工程の関係について : プレタポルテの製造工程が製品設計に及ぼす影響"],"weko_creator_id":"2","weko_shared_id":-1},"updated":"2023-05-15T14:17:00.864232+00:00"}