This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.
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This project takes the researcher’s established fashion and textile design practice into a new space of the virtual and digital as a context for creative enquiry. Through discussion on two speculative experiments that use motion capture technology, this enquiry considers the transformational potential of a digital materiality as an environment in which to re-imagine and re-image the surfaces of future fashion. Specifically, it asks what influence the virtual/digital environment will have in shaping the aesthetics of the experiments. These acts of transformation, through morphing surfaces and shape-shifting material forms, question contemporary norms of using, consuming, engaging with and understanding fashion and textiles. Enfolded in this creative research is the recognition of how these shifts from matter to metaphor, from object to ephemeral, from dress to transformable interface could ignite alternatives to the current fashion manufacture and consumption process.
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This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.
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Marcuss, Aaron (Ed.); Design, User Experience, and Usability - Design Philosophy, Methods, and Tools. Springer Berlin, Heidelberg 2013. Pp. 48-57.
""Abstract. Imagining the future, we create sci-fi predictions visualized through telematic imagery, involving stage sets and costumes. Looking back at sci-fi’s imagination we find it depicts the ideologies of the period in history when it was created far more accurately than it manages to predict future materials or functions. This article focuses on the body, but goes beyond the traditional perspectives of fashion, to consider wearables as an interface between the body and the world. Two key concepts will be presented in order to interpret future fashion, they are: ‘fungibility’ and ‘empathy’, which will be discussed through examples of clothing as a means for expressing data. User interfaces of the future will acknowledge the relationship between people, places and things as emergent spaces that generate meaning through everyday activity and therefore ones in which users themselves act as co-designers. Keywords: Wearables, Fungibility, Empathy, Blinklifier, Snoothood Surreal, Snoothood Chinoiserie, Blinklifier, Reverse Predictive Practices, Sleep Disorders, Snoring, Humanistic Computing, Technogenesis, Interface Aesthetics, Interface Culture ""
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International Journal for Research in Applied Sciences and Biotechnology
This comprehensive review is on the dominance of digital technology in fashion design, aesthetics, and profound jounce on the values of individuals in contemporary society. A commensurate understanding of the relationship between digital technology, aesthetics and fashion design is essential to examine the developments, transformation, and socio-cultural surprises in the years to come. Hence, the aim of this research is to bequeath insight and impart new knowledge to the literature encapsulating the following complex interplay between digital technology, fashion design and aesthetics impacting the psychological influences and emotional contagion in the society : (i) introduction of the world of wearables (WOW) that crosses boundaries between many disciplines using wearable operating system (WOS), (ii) describes the indispensable pillars of design imagination that express the product’s defining points of importance, (iii) demonstrates digital transformation is a mindset than about technology for the fashion design and development process, (iv) reveals aesthetics as 5C (comfort, communication, care, convenience,and context of usability) experience that actualize user bond and loyalty, (v) justifies fusion of digital technology, aesthetics, and fashion design that offers an array of amazing advantages that creates value for the consumer, (vi) characterizes the power of digital technology on fashion industry creating pervasive phenomenon in the contemporary society, (vii) deliberation and critical rumination on the fashion designer-a bridge between the technology and the consumer that prominence the socio-culturalchanges globally, (viii) concludes “less is more” is a key guideline for smart fashion wearable (SFW) design and substantiates that designers will not succeed until it is designed from the fashion perspective –not as technology that can be worn, but as fashion design that contains technology.
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