Contemporary Clothing Design on Dress Form Quoted from King Tutankhamun's Jewelry with Zero-Waste | ||||
| Pharos International Journal of Arts and Design | ||||
| Article 7, Volume 01, Issue 01, March 2024, Page 1-29 PDF (1.5 MB) | ||||
| Document Type: Original Article | ||||
| DOI: 10.21608/pijad.2024.353862 | ||||
 View on SCiNiTO | ||||
| Authors | ||||
Noha Rabie Nawar  1; Karama Thabet Al-Sheikh2; Hanan Nabih Al-Zaftawi,3
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| 1Master of Fashion Design, Department of Clothing and Textiles, Faculty of Home Economics, Helwan University | ||||
| 2Professor of Fashion Design, Department of Clothing and Textiles, Faculty of Home Economics, Helwan University | ||||
| 3professor of mannequin composition, Department of Clothing and Textiles, Faculty of Home Economics, Helwan University | ||||
| Abstract | ||||
| The research aims to create designs on mannequins that reflect the characteristics of the art of King Tutankhamun’s jewelry, achieve the concept of “Zero waste,” and measure the opinions of a sample of women “consumers” regarding the research designs. The research relies on the descriptive approach with analysis and application. The research required building and applying a tool that has been verified. One of its honesty and consistency is a questionnaire of female consumers to explore their opinions regarding the designs adapted from King Tutankhamun’s jewelry, designed in the mannequin style and without “zero waste” of fabric, and to ensure their suitability for the target group of the research, which is the age group between (20: 35) years and sizes ranging from ( 38: 44), and the results of the research were divided into two parts: the first is an analysis of the twelve research designs according to the three criteria specified in this research, which are the description of the design, the source of the quotation, which was identified in the ornaments of the ancient Egyptian era, and the role of sustainability in design. As for the second part It addressed the answers to the research questions and the statistical results to verify the hypotheses. One of the most important results of the research is the high level of what was obtained by all research designs in general, and this reflects the good responses of the sample of female consumers towards the twelve designs, and the success of the researchers in creating modern designs that carry the spirit of King Tutankhah’s jewelry. Amon reflects the source-quoted features of each design and achieves both the sustainability and functional aspects of fashion to fulfill the role for which it was designed. | ||||
| Keywords | ||||
| Tutankhamun; Design on the mannequin; Lossless fashion; Ornaments | ||||
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