Browsing by Subject "DIY"
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(2017)The purpose of this is to examine self-made wedding dresses in Finland in the 21st century. The aim is to study the meanings of wedding dresses and making for the brides who have made their wedding dresses themselves. In addition, the reasons for making and the self-made dresses are examined. The theoretical background of this study consisted of contemporary weddings, dress and bridal wear and the motivations for making crafts and DIY-projects. The study was conducted as a qualitative research. The data was collected as a web survey on craft and wedding themed Facebook groups, e-mailing lists and online forums. Along with answers to open questions, photos of self made wedding dresses were collected. 59 brides responded to the survey. In the final data there were 41 photos of 25 different wedding dresses. The data was analyzed using content analysis and Atlas.ti software. For most brides the wedding dress has specific worth which can be seen in the dreaming of a certain design, special effort put to the making and desire to keep the dress as a memory. Most of the brides chose a traditional white dress respecting the tradition but the colour white was also simply seen as the one and only colour of the wedding dress. Only a few of the brides considered white as a symbol of virginity even though the symbolism affected the choices of some brides. The reasons for making a wedding dress related to supply covered financial benefits, dissatisfaction to current fashion or quality, dress fit, availability and ecological and ethical values. The reasons related to one's identity link to a wish to be different from others and one's experience or profession as a craft maker. The meaning of making links to the meaning of the making process, for example, as mental preparation for the wedding and as an empowering experience. Self-made wedding dresses were also considered more valuable than ready made dresses which points out the value of crafts as well. In addition to financial choices, striving for individuality was emphasized in this study. The brides desired to express their personality in their wedding dresses but most of them did in the limits of tradition because they also wanted to conform to the norms. On the other hand, the clearly distinctive wedding dresses in this study point out the freedom of an individual not to follow the way of tradition.
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(2024)The aim of this thesis is to analyse, interpret, and describe the meanings of making a senior ball costume yourself. In addition, the motivation behind making their own costume instead of buying ready-made or tailored costume by someone else is being examined. The first part of the study describes, analyses, and specifies the types of senior ball costumes that are self-made. The second part of the study examines why dancers have made their costumes and what significance it holds for them. This research was conducted as a qualitative study using content analysis. The data for the study consisted of responses to an online survey, which were analysed using a data driven analysis method. The photographs from the online survey were analysed using a theory-directed analysis. Atlas.ti software was used to assist in the analysis. A total of 38 people responded to the online survey. The dataset consisted of 36 photographs of 25 different senior costumes. The senior dance costumes varied in colour, style, design, material, and details. In this study, all costumes were sewn, but other techniques including dyeing, embroidery, customization, and gluing were also used. The costumes aimed to express personality, old-fashioned aesthetic, recycling, and a departure from traditional appearances. The purpose of the senior costume can be divided into two categories: the product and the process of making. The costume as a product held emotional, aesthetic, expressive, supply-related, and functional meanings. It also held significance during the celebration. Wearing the dress during the celebration felt special for many of the dancers, as they had spent time and effort on the costume. Positive feedback about the costume increased the feelings of accomplishment in the seniors, and they felt proud of themselves. Some of the dancers had subsequent use for the costume after the senior ball, which indicates special attachment towards the self-made costume. For the dancers designing was a meaningful aspect of creating the costume and the whole process was educational. The process also involved emotional and social significance for dancers. The significance of the costume, as described by dancers, varied between individuals. For many dancers it was important to have a costume that felt personal and fitted well. For the participants of this study a self-made costume created more meaning than a ready-made or tailored costume. They valued handprint and it was desired to be displayed in the costume. According to the study, it is hard to find a ready-made old-fashioned costume, so the small group making their own costumes who are inspired by the past respect the original tradition of the event by wearing old-fashioned clothing.
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(2017)Craft workshops and workshop events have become more common in our society. Functionality, Do It Yourself mentality is being made use of in many ways. The goal of this study was to examine different kinds of open workshops and to look at workshops from different angles. There were three points of views observed: Participants, instructors/organisers and customers. The objective was also to study what makes a good workshop and what goes in to planning one and to see how creative learning shows in workshops and how it can be supported. The study's research method was research interview. Collection of data was done in two different methods and analysed by Grounded theory. In the first phase of the study data was collected with an internet questionnaire. The questionnaire had common questions and questions where one can give their own view. The questionary was open to the public for one month from which 59 answers where gathered. In the second phase of the study data was collected with half structured theme interviews. People for the interviews were gathered through the questionnaire and through direct contact. The interviews were held four times and 6 people were interviewed in total. Different views were attempted to include in the theme interviews also. Interviewed were, one participant, one producer, one museum lecturer, two culture producers and a director of an art house. The internet questionnaires answers were analysed statistically and the open questions and interviews by content analysis. Different angles of the data where compared through Grounded theory. The saturation point between both data sets was looked at. The study concludes, that workshops are functional and their interaction is ongoing in real time. Workshops are being held from many different points of views and they can have different goals at their base. A good workshop is possible when goals are known and thought out with care. Development of creativity is possible in workshops and can be woken up when the facility, materials, atmosphere and of course instructions are supporting creativity. Craft workshops can work also as a means of learning and give its participants sensations of success and social interactions. These can advance the wellbeing of a participant in many ways
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