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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

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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.



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



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.



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.



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



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).



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.



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).



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



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).



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).



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.



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 .



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



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

BOUCHER, François. História do vestuário no Ocidente. Cosacnaify: São Paulo, 2010. COSGRAVE, Bronwyn. Historia de la moda: desde Egipto hasta nuestros días. Gustavo Gilli: Barcelona, 2005. DEMARCHI, Ana Paula Perfecto; FORNASIER, Cleuza Bittencourt Ribas ; MARTINS, Rosane Fonseca de Freitas - Strategic integrator design management model enhanced. In: Anais 3rd Int. Conf. on Integration of Design, Engineering & Management for Innovation. Porto, Portugal, 4-6 set. 2013. DEMARCHI, Ana Paula Perfetto. Gestão estratégica de design com abordagem de design thinking: proposta de um sistema de produção do conhecimento, 2011. Tese (Doutorado em Engenharia e Gestão do Conhecimento) – Departamento de Engenharia e Gestão do Conhecimento da Universidade Federal de Santa Catarina, 2011. FORNASIER, Cleuza Bittencourt Ribas. Sistema de integração do conhecimento organizacional por meio do design thinker, 2011. Tese (Doutorado em Engenharia e Gestão do Conhecimento) – Departamento de Engenharia e Gestão do Conhecimento da Universidade Federal de Santa Catarina, Florianópolis, 2011. GIORGETTI, Cristina. Manuale di storia del costume e della moda. Cantini :Torino, 1992. KÖHLER, C. História do vestuário. 2. ed. Martins Fontes: São Paulo, 2001. LAVER, James. A roupa e a moda: uma história concisa. Cia das Letras: São Paulo, 1989.



LIPPEL, M. de V.; FORNASIER, Cleuza Bittencourt Ribas. O estilo de Maria Antonieta. Anais do 2 Encontro Paranaense de moda, design e negócios, 2013. MACKENZIE, Mairi. Ismos: para entender a moda. Globo: São Paulo, 2010. MARIA, Jéssica Aparecida de Araújo; FORNASIER, Cleuza Bittencourt Ribas. Análise do vestuário do século XVIII: roupas da rainha Maria Antonieta- Anais do 2 Encontro Paranaense de moda, design e negócio , 2013. RUPPERT, J; et al. Le Costume Français. Paris: Flammarion, 1996. WEBER, Caroline. Rainha da Moda: como Maria Antonieta se vestiu para a revolução. Rio de Janeiro: Zahar, 2008. References in sites LIFE JOURNAL. La mode illustree. Disponível em: http://lamodeillustree.livejournal.com. Acesso em: 01 mar 2015 PORTRAITS OF ROYALTY. DISPONÍVEL EM: https://www.pinterest.com/donnakafer/portraits-of-royalty/. Acesso em: 01 mar 2015. Acknowledgments: to the Universidade Estadual de Londrina by Labconde (Laboratory of Strategic Design Management and Connections) and Fundação Araucaria, Capes and CNPq for supporting this research.

http://lamodeillustree.livejournal.com/

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