Block party: contemporary craft inspired by the art of the tailor

Block Party: contemporary craft inspired by the art of the tailor, is a new touring exhibition from the Crafts Council curated by Lucy Orta - Professor of Art, Fashion and the Environment at London College of Fashion, and renowned visual artist whose own practice fuses fashion, art and architecture. Block Party explores the alchemy of the centuries-old skill of tailoring by presenting work by 15 UK and international artists who push pattern-cutting beyond the fashion garment. The artists Lucy Orta has selected take pattern-cutting as a starting point to produce sculpture, ceramics, textile, moving image and collage. Through experimentation the artists have found new ways to assemble pattern shapes, not to create garments but to manipulate shape to realise new outcomes. Block Party focuses on three themes; Storytelling, Embracing the Future, and Motif and Manipulation. In Storytelling artists use pattern-cutting as a means of expression. Turner Prize-nominated Yinka Shonibare MBE presents a child mannequin, dressed in a historically accurate Victorian outfit crafted from African fabric to reference culture, race and history. Claudia Losi’s 24m whale made of woollen suit fabric was transported around the world to stimulate discussion and storytelling before being deconstructed and transformed into jackets in collaboration with fashion designer Antonio Marras. In Embracing the Future existing pattern-cutting methods are manipulated and challenged through the use of innovative processes and technologies. Simon Thorogood’s patterns are created using digital programmes whilst Philip Delamore of the Fashion Digital Studio at London College of Fashion seeks to apply the latest developments in 3D digital design to the garment making process. In Motif and Manipulation the beauty of the paper pattern block is the visual inspiration. Ceramist Charlotte Hodes directly incorporates these familiar shapes into her ceramics whilst Raw Edges re-appropriate the use of a pattern block by creating a flat paper pattern of a chair which is then filled with expandable foam to create the 3D ‘Tailored Wood Bench’

Enhancing the employability of fashion students through the use of 3D CAD

The textile and apparel industry has one of the longest and most intricate supply chains within manufacturing. Advancement in technology has facilitated its globalisation, enabling companies to span geographical borders. This has led to new methods of communication using electronic data formats. Throughout the latter part of the 20th Century, 2D CAD technology established itself as an invaluable tool within design and product development. More recently 3D virtual simulation software has made small but significant steps within this market. The technological revolution has opened significant opportunities for those forward thinking companies that are beginning to utilise 3D software. This advanced technology requires designers with unique skill sets. This paper investigates the skills required by fashion graduates from an industry perspective. To reflect current industrial working practices, it is essential for educational establishments to incorporate technologies that will enhance the employability of graduates. This study developed an adapted action research model based on the work of Kurt Lewin, which reviewed the learning and teaching of 3D CAD within higher education. It encompassed the selection of 3D CAD software development, analysis of industry requirements, and the implementation of 3D CAD into the learning and teaching of a selection of fashion students over a three year period. Six interviews were undertaken with industrial design and product development specialists to determine: current working practices, opinions of virtual 3D software and graduate skill requirements. It was found that the companies had similar working practices independent of the software utilised within their product development process. The companies which employed 3D CAD software considered further developments were required before the technology could be fully integrated. Further to this it was concluded that it was beneficial for graduates to be furnished with knowledge of emerging technologies which reflect industry and enhance their employability skills

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

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Global communication part 1: the use of apparel CAD technology

Trends needed for improved communication systems, through the development of future computer-aided design technology (CAD) applications, is a theme that has received attention due to its perceived benefits in improving global supply chain efficiencies. This article discusses the developments of both 2D and 3D computer-aided design capabilities, found within global fashion supply chain relationships and environments. Major characteristics identified within the data suggest that CAD/CAM technology appears to be improving; however, evidence also suggest a plateau effect, which is accrediting forced profits towards information technology manufactures, and arguably compromising the industry's competitive advantage. Nevertheless, 2D CAD increases communication speed; whereas 3D human interaction technology is seen to be evolving slowly and questionably with limited success. The article discusses the findings and also presents the issues regarding human interaction; technology education; and individual communication enhancements using technology processes. These are still prevalent topics for the future developments of global strategy and cultural communication amalgamation

Study on 3D modeling and pattern-making for upper garment（上衣の三次元モデルの構築およびパターンメーキングに関する研究）

信州大学(Shinshu university)博士（工学）ThesisZHANG JUN. Study on 3D modeling and pattern-making for upper garment（上衣の三次元モデルの構築およびパターンメーキングに関する研究）. 信州大学, 2017, 博士論文. 博士（工学）, 甲第663号, 平成29年03月20日授与.doctoral thesi

Three-dimensional garment-size change modeled considering vertical proportions

ArticleINTERNATIONAL JOURNAL OF CLOTHING SCIENCE AND TECHNOLOGY. 29(1):84-95 (2017)journal articl