Historic Costume Simulation and its Application

This study highlights the potential of new technology as a means to provide new possibility for costumes in fragile condition to be utilised. The aim of this study is to create accurate digital duplicates of costumes from historical sources, and to explore the possibility of developing them as an exhibitory and educational method applying 3D apparel CAD and new media. To achieve this, three attributes for qualities of effective digital costumes were suggested: faithful reproduction, virtual fabrication, and interactive and stereographic appreciation. Based on these qualities, digital costumes and a PC application were produced and evaluated

Nature as paradigm for sustainability in the textile and apparel industry

Imagine if clothing of the future would adapt, grow, self repair and change appearance. The relationship between wearer and garment would be that of symbiosis enabled by developments in material science that produce textiles able to imitate functionalities of living organisms rather than just the properties of natural fibres. We can expect clothing of the future to host an array of new properties that may interact or integrate with the body, self maintain, reproduce and self assemble to accommodate changes in our activity and environment. Materials and structures in nature already demonstrate these functions and can indicate ways of transferring the technology into clothing. Biomimetics can operate as a platform to accommodate these future requirements and provide a new perspective in the design and assembly of clothing systems

D-STEM: a Design led approach to STEM innovation

Advances in the Science, Technology, Engineering and Maths (STEM) disciplines offer opportunities for designers to propose and make products with advanced, enhanced and engineered properties and functionalities. In turn, these advanced characteristics are becoming increasingly necessary as resources become ever more strained through 21st century demands, such as ageing populations, connected communities, depleting raw materials, waste management and energy supply. We need to make things that are smarter, make our lives easier, better and simpler. The products of tomorrow need to do more with less. The issue is how to maximize the potential for exploiting opportunities offered by STEM developments and how best to enable designers to strengthen their position within the innovation ecosystem. As a society, we need designers able to navigate emerging developments from the STEM community to a level that enables understanding and knowledge of the new material properties, the skill set to facilitate absorption into the design ‘toolbox’ and the agility to identify, manage and contextualise innovation opportunities emerging from STEM developments. This paper proposes the blueprint for a new design led approach to STEM innovation that begins to redefine studio culture for the 21st Century

D-STEM: a Design led approach to STEM innovation

Advances in the Science, Technology, Engineering and Maths (STEM) disciplines offer opportunities for designers to propose and make products with advanced, enhanced and engineered properties and functionalities. In turn, these advanced characteristics are becoming increasingly necessary as resources become ever more strained through 21st century demands, such as ageing populations, connected communities, depleting raw materials, waste management and energy supply. We need to make things that are smarter, make our lives easier, better and simpler. The products of tomorrow need to do more with less. The issue is how to maximize the potential for exploiting opportunities offered by STEM developments and how best to enable designers to strengthen their position within the innovation ecosystem. As a society, we need designers able to navigate emerging developments from the STEM community to a level that enables understanding and knowledge of the new material properties, the skill set to facilitate absorption into the design ‘toolbox’ and the agility to identify, manage and contextualise innovation opportunities emerging from STEM developments. This paper proposes the blueprint for a new design led approach to STEM innovation that begins to redefine studio culture for the 21st Century

Revealing the Ritually Concealed: Custodians, Conservators, and the Concealed Shoe

This is an Accepted Manuscript of an article published by Taylor & Francis in Material Religion, on 19 April 2018, available online at: https://doi.org/10.1080/17432200.2018.1443892. Under embargo until 19 October 2019.Concealed shoes are footwear purposely concealed within domestic buildings. The motivations behind their concealments are unknown to us, but the prominent theory suggests that shoes were employed as apotropaic (evil-averting) devices. The metonymical connection between shoe and wearer is believed to imbue the shoe with the necessary protective power, and one theory suggests that, to possess this power, shoes must bear the unambiguous imprint of their past wearers, hence why the vast majority of them are old, well-worn or damaged. From the point of discovery (often during restructuring work), the concealed shoe’s biography can follow a variety of courses. Some debate, for example, surrounds their removal. Some finders believe it to be “bad luck” to remove concealed shoes and therefore wish to keep them in situ. Others are donated to museums, where still more debate surrounds their treatment: should they be restored by textile conservationists or left in their original state, their damaged conditions being considered central to the interpretation of the custom? This paper aims to trace the complex biographies of several examples of concealed shoes following discovery, considering how they have been variously perceived and treated by their finders and custodians.Peer reviewedFinal Accepted Versio

Bioengineered Textiles and Nonwovens – the convergence of bio-miniaturisation and electroactive conductive polymers for assistive healthcare, portable power and design-led wearable technology

Today, there is an opportunity to bring together creative design activities to exploit the responsive and adaptive ‘smart’ materials that are a result of rapid development in electro, photo active polymers or OFEDs (organic thin film electronic devices), bio-responsive hydrogels, integrated into MEMS/NEMS devices and systems respectively. Some of these integrated systems are summarised in this paper, highlighting their use to create enhanced functionality in textiles, fabrics and non-woven large area thin films. By understanding the characteristics and properties of OFEDs and bio polymers and how they can be transformed into implementable physical forms, innovative products and services can be developed, with wide implications. The paper outlines some of these opportunities and applications, in particular, an ambient living platform, dealing with human centred needs, of people at work, people at home and people at play. The innovative design affords the accelerated development of intelligent materials (interactive, responsive and adaptive) for a new product & service design landscape, encompassing assistive healthcare (smart bandages and digital theranostics), ambient living, renewable energy (organic PV and solar textiles), interactive consumer products, interactive personal & beauty care (e-Scent) and a more intelligent built environment

(Case Study)

The objective of this dissertation is to investigate and study the connection between the technological development found in the history of fashion clothing and design. A further objective is to consider the importance of anthropometry, ergonomics, volumetrics, geometry and body shape, and to demonstrate, through case study, avenues for adapting and incorporating flat patterning in the creative process of Fashion Design Teaching: “Amalgamated (Hybrid) modelling as a creative resource”. Every fashion designer needs to think about his personal creative process and how best to stimulate his own creativity. There are some methods that can promote creativity and these need to be made part of the designer’s daily routine in order to develop distinctive and innovative work. When building a collection, the fashion designer must adopt a methodological approach. Flat patterning reaches the heart of mathematics. It demands logical reasoning and an ability to integrate a number of disciplines. Consequently, it can give the impression of being a rigorous, complex practice, full of often incomprehensible rules, because it can be difficult to grasp its precise theory and practice. But this is an area of knowledge of great significance to students of fashion design while undergoing their academic training because the good professional must have at least a basic understanding of how their design will be put together as a result of flat patterning. In teaching, flat patterning is often set apart from the creative process and is combined with the later stage of execution. According to Mariano, “it is the process of flat patterning that defines the transformation of flat materials into three-dimensional shapes capable of adaptation to the human body. [...] It also determines whether the clothing can be reproduced”. Mariano (2011, no page) It is clear that developing a flat pattern is a very important step in the creation of a garment. Its function is not only to configure the garment but also to ensure it can be standardized and reproduced. However, when dealt with as a predominantly technical subject, its application can become divorced from the concept of creation because it appears to have no artistic content. By approaching flat patterning technique in a composite way, taking advantage of its two-pronged nature to incorporate it in the creative elements of the Fashion Design course, it can become a means of sparking the creative process which has made great names in high fashion in the past. Coelho (2008) argues that patterning should be understood as being more than a technique. He says that it loses the dynamic sense intrinsic to the concept of a method that is part of a larger process - all the research carried out by the designer – when flat patterning is either not fully understood or taught simply as a technique. Logical reasoning is vital when making flat patterns. But mastery of technique is also essential. Novaes (2008), extends Coelho’s reasoning by saying: “Other possible routes in processing a garment result from cross-referencing between standardization methods and production systems. [...] Configuring geometric patterns with three-dimensional modelling when developing a prototype is a further possible method of shaping a garment.”. (Novaes, 2011, p.93). A great example of composite patterning as a creative resource in the teaching of Fashion Design is the stylist Tomoko Nakamichi, who teaches at the famous “Bunka” Fashion School in Japan. She departs from the traditional patterning approach and, in effect, offers a hybrid technique which combines and enlarges the ranges of standard flat and three-dimensional modelling. It follows that educators should bear in mind that a study and understanding of the principles of human anatomy will instil a knowledge of how to evaluate the human profile, so contours can be followed or altered. Concepts of proportion, symmetry and volume (or volumetrics), as well as height and width measurements, are fundamental to producing a technical design and modelling pattern. This information needs to be included in the planning of a garment during graphic design. In conclusion, teaching flat patterning in a creative way, combining its different elements, can be a force to promote creativity, giving the student the opportunity to see a garment, or fashion product, in three dimensions. This modelling technique allows the fashion professional greater creative freedom thanks to immediate three-dimensional visual contact with the product. It also benefits the student who gains greater control over the creation of a garment in a liberating way that also facilitates improvements to the final results.Esta dissertação objectiva estudar e investigar a relação do desenvolvimento tecnológico velados na história da indumentária, moda e design, assim como antropometria, ergonomia volumetria, geometria, corpo e formas para fins, de buscar e exemplificar través de estudo de caso a possibilidade de incorporar e adequar a modelagem no processo criativo do ensino de design de moda “modelagem hibrida como recurso criativo”. Nesse contexto, todo criador precisa pensar sobre seu processo criativo na moda e como estimular sua própria criatividade. Existem algumas ferramentas que podem ser usadas para promover a criatividade, e estas devem ser incorporadas à rotina diária para que o designer possa desenvolver um trabalho diferenciado e inovador. O designer de moda deve estabelecer uma abordagem metodológica para desenvolver uma colecção. A modelagem por passar pelo cerne da matemática, esta requer raciocínio lógico e a capacidade de articular uma série de disciplinas dando a impressão de ser uma prática complexa, rigorosa e cheia de regras, muitas vezes incompreensível devido a uma certa dificuldade de assimilação do seu teor prático e exacto. Por conseguinte esta área do conhecimento se faz de grande importância na formação académica dos alunos de cursos de design de moda pois o bom profissional deve pelo menos deter o conhecimento básico do produto que se vai construir através da modelagem. A modelagem no ensino é frequentemente separada do processo criativo, sendo incorporada mais tarde na etapa do processo de execução. Segundo Mariano (2011), “a modelagem e o processo que determina a transformação dos materiais planos em formas tridimensionais adaptáveis ao corpo humano […] e também por determinar a reprodutibilidade do vestuário” […]. É certo que a elaboração da modelagem é um estágio muito importante, com uma função não apenas de configurar, mas também de garantir que a roupa possa ser reproduzida e padronizada. No entanto, tratando-a como um assunto predominantemente técnico, sua aplicação pode se tornar divorciada da concepção criativa, uma vez que a mesma parece ser desprovida de conteúdo artístico. Abordar e incorporar as técnicas de modelagem de uma forma hibrida e de maneira criativa no ensino do design de moda, através de suas técnicas ramificadas, desta forma a mesma pode se tornar uma ferramenta capaz de potencializar o processo criativo assim como ja no passado fazia grandes nomes da alta costura. Coelho (2008), explica que modelagem não deve ser entendida apenas como técnica porque, quando a modelagem sendo ela plana ou não é compreendida ou ensinada apenas como uma técnica, ela perde o sentido dinâmico amplo consagrado no conceito de um método que é parte de um processo maior, que é toda a pesquisa feita pelo o designer. O raciocínio lógico é essencial para realizar a modelagem plana. Mas o domínio da técnica também é essencial. Novaes, completa os pensamentos de Coelho nos dizendo que “outros caminhos possíveis no processamento de uma peça de roupa são o resultado de cruzamentos entre métodos de padronização e sistemas de produção […] já que a configuração de padrões geométricos com modelagem tridimensional no desenvolvimento de um protótipo é outro método possível para modelar peças de vestuário. Um grande exemplo de uma modelagem hibrida como recurso criativo no ensino de design de moda é a professora e designer da famosa escola de moda japonesa “Bunka” Tomoko Nakamichi, cujo oferece uma ruptura com a padronização da modelagem tradicional e oferece efectivamente uma técnica híbrida que mescla padrões recursos de modelagem plana e tridimensionais. Portanto, educadores não podem esquecer-se que com o estudo e a compreensão dos princípios da anatomia humana é possível transmitir ideias através do conhecimento de como avaliar o perfil, para que os contornos possam ser seguidos ou alterados, conceitos de proporção, simetria e volume (ou volumetrics), bem como medidas de altura e largura, são fundamentais para a realização do desenho técnico e padrão da modelagem e devem ser trazidos para o planejamento do item como informação durante o design gráfico. Desta forma então conclui-se que o ensino da modelagem de forma hibrida e criativa pode ser usada para promover a criatividade, proporcionando ao aluno a possibilidade de ver a roupa ou produto de moda em três dimensões. Pode-se dizer que essa técnica de modelagem dá maior liberdade criativa ao profissional da moda devido ao contacto visual tridimensional imediata do produto e que também beneficiará o aluno sob um maior controle sobre a criação da roupa de uma maneira incomum e que também facilitará os ajustes finais

In-between pleats: Pleats, pleating and 'pliable logic'

In-Between Pleats is a research project constituted by a series of case studies, historical research, a short intensive pleating apprenticeship, and live performances. The research objective emerged through the exploratory making of pleats. It is to create new thinking about pleats by examining the dynamics of handmade and digital technology, and the potential of those pleats on the body and movement, interrogating three research questions: ‘What is a pleat?’, ‘What is in a pleat?’, ‘What do pleats do?’. Pleating is a type of fabric manipulation and so this research refers to ‘textile thinking’ for analytical thinking. The research starts with an understanding of pleating history and techniques. A selection of materials, including cotton, silk, and synthetic fibres, are tested, recognising that the quality of pleats and pleating is directly affected by the specific fibre and forming structure. It is these differences that offer a range of perspectives to this study. These explorations, led by textile thinking, help to anchor my practice among other practitioners, and position this study in the research context. The experiments to reproduce Mariano Fortuny and Issey Miyake pleats establish a fundamental understanding of pleating techniques, which form the first layer of analysis for this study, and lead to a methodology for the next layer of research. I propose a new methodology: ‘pliable logic’, derived from my making and thinking, evolving from Pennina Barnett’s ‘soft logic’, Sarat Maharaj’s ‘think-speak-write’, and Gilles Deleuze’s concept of ‘plica ex plica’, to interrogate and revisit the research questions. A new pleating method – fabric mould – is originated from my research into materials and techniques; new types of pleats emerge from the application of 3D printing technology. Using these newly produced pleats in live performances, a space to rethink the relationship between garments, textiles, body and movement, offered new perspectives of what pleats and pleating are. Pliable logic provides innovation for both the creation and interpretation of pleats and pleating, through an oscillation between making and theory. The research proposes a new taxonomy of pleats based on my making experiences. A speculative proposition of what future pleats will look like and be made of, builds a perspective that reinvigorates the way in which pleats and pleating are perceived

Recreating Daily life in Pompeii

[EN] We propose an integrated Mixed Reality methodology for recreating ancient daily life that features realistic simulations of animated virtual human actors (clothes, body, skin, face) who augment real environments and re-enact staged storytelling dramas. We aim to go further from traditional concepts of static cultural artifacts or rigid geometrical and 2D textual augmentations and allow for 3D, interactive, augmented historical character-based event representations in a mobile and wearable setup. This is the main contribution of the described work as well as the proposed extensions to AR Enabling technologies: a VR/AR character simulation kernel framework with real-time, clothed virtual humans that are dynamically superimposed on live camera input, animated and acting based on a predefined, historically correct scenario. We demonstrate such a real-time case study on the actual site of ancient Pompeii.The work presented has been supported by the Swiss Federal Office for Education and Science and the EU IST programme, in frame of the EU IST LIFEPLUS 34545 and EU ICT INTERMEDIA 38417 projects.Magnenat-Thalmann, N.; Papagiannakis, G. (2010). Recreating Daily life in Pompeii. Virtual Archaeology Review. 1(2):19-23. https://doi.org/10.4995/var.2010.4679OJS192312P. MILGRAM, F. KISHINO, (1994) "A Taxonomy of Mixed Reality Visual Displays", IEICE Trans. Information Systems, vol. E77-D, no. 12, pp. 1321-1329R. AZUMA, Y. BAILLOT, R. BEHRINGER, S. FEINER, S. JULIER, B. MACINTYRE, (2001) "Recent Advances in Augmented Reality", IEEE Computer Graphics and Applications, November/December http://dx.doi.org/10.1109/38.963459D. STRICKER, P. DÄHNE, F. SEIBERT, I. CHRISTOU, L. ALMEIDA, N. IOANNIDIS, (2001) "Design and Development Issues for ARCHEOGUIDE: An Augmented Reality-based Cultural Heritage On-site Guide", EuroImage ICAV 3D Conference in Augmented Virtual Environments and Three-dimensional Imaging, Mykonos, Greece, 30 May-01 JuneW. WOHLGEMUTH, G. TRIEBFÜRST, (2000)"ARVIKA: augmented reality for development, production and service", DARE 2000 on Designing augmented reality environments, Elsinore, Denmark http://dx.doi.org/10.1145/354666.354688H. TAMURA, H. YAMAMOTO, A. KATAYAMA, (2001) "Mixed reality: Future dreams seen at the border between real and virtual worlds", Computer Graphics and Applications, vol.21, no.6, pp.64-70 http://dx.doi.org/10.1109/38.963462M. PONDER, G. PAPAGIANNAKIS, T. MOLET, N. MAGNENAT-THALMANN, D. THALMANN, (2003) "VHD++ Development Framework: Towards Extendible, Component Based VR/AR Simulation Engine Featuring Advanced Virtual Character Technologies", IEEE Computer Society Press, CGI Proceedings, pp. 96-104 http://dx.doi.org/10.1109/cgi.2003.1214453Archaeological Superintendence of Pompeii (2009), http://www.pompeiisites.orgG. PAPAGIANNAKIS, S. SCHERTENLEIB, B. O'KENNEDY , M. POIZAT, N.MAGNENAT-THALMANN, A. STODDART, D.THALMANN, (2005) "Mixing Virtual and Real scenes in the site of ancient Pompeii",Journal of CAVW, p 11-24, Volume 16, Issue 1, John Wiley and Sons Ltd, FebruaryEGGES, A., PAPAGIANNAKIS, G., MAGNENAT-THALMANN, N., (2007) "Presence and Interaction in Mixed Reality", The Visual Computer, Springer-Verlag Volume 23, Number 5, MaySEO H., MAGNENAT-THALMANN N. (2003), An Automatic Modeling of Human Bodies from Sizing Parameters. In ACM SIGGRAPH, Symposium on Interactive 3D Graphics, pp19-26, pp234. http://dx.doi.org/10.1145/641480.641487VOLINO P., MAGNENAT-THALMANN N. (2006), Resolving Surface Collisions through Intersection Contour Minimization. In ACM Transactions on Graphics (Siggraph 2006 proceedings), 25(3), pp 1154-1159. http://dx.doi.org/10.1145/1179352.1142007http://dx.doi.org/10.1145/1141911.1142007PAPAGIANNAKIS, G., SINGH, G., MAGNENAT-THALMANN, N., (2008) "A survey of mobile and wireless technologies for augmented reality systems", Journal of Computer Animation and Virtual Worlds, John Wiley and Sons Ltd, 19, 1, pp. 3-22, February http://dx.doi.org/10.1002/cav.22

Designing for Divorce: New Rituls and Artifacts for an Evolving World

Our interactions with objects build cultural codes, reflecting lifestyles, values, and identities beyond functional expectations. With open connectivity in the contemporary consumer environments, we have access to homogenized material cultures not only for daily activities but also for ceremonies and rituals to mark important events, such as birth, marriage, and death. What will happen to our cultural codes and diverse traditions when various cultural norms meet, exchange, clash, hybridize, and evolve? In this research, globalized material cultures were investigated to discover metaphoric comparisons, to formulate conceptual frameworks, and to develop informed design, which can address evolving cultural conditions appropriately, in comparison with commercialized goods. Considering we often ritualize sequential stages of life course or challenging events, but rarely divorce, I explored the socio-cultural norms of marriage and divorce in the current social construct to anticipate globally evolving divorce phenomena. My thesis focused on relatively unknown material cultures in ritualizing divorce by combining speculative design with semiotic, hybrid, idiosyncratic approaches to communicate desirable future scenarios for the emerging multi-cultural context. This research aims to explore how artifacts and rituals can help people cope with transitional events and how design practices can provide meaningful and reflective material cultures