JENTIL: responsive clothing that promotes an ‘holistic approach to fashion as a new vehicle to treat psychological conditions’

This paper explores an ongoing interdisciplinary research project at the cutting edge of sensory, aroma and medical work, which seeks to change the experience of fragrance to a more intimate communication of identity, by employing emerging technologies with the ancient art of perfumery. The project illustrates .holistic' clothing called the JENTIL® Collection, following on from the Author’s SmartSecondSkin' PhD research, which describes a new movement in functional, emotional clothing that incorporates scent. The project investigates the emergent interface between the arts and biomedical sciences, around new emerging technologies and science platforms, and their applications in the domain of health and well-being. The JENTIL® Collection focuses on the development of .gentle., responsive clothing that changes with emotion, since the garments are designed for psychological end benefit to reduce stress. This is achieved by studying the mind and advancing knowledge and understanding of how known well-being fragrances embedded in holistic Fashion, could impact on mental health. This paper aims to combine applied theories about human well-being, with multisensory design, in order to create experimental strategies to improve self and social confidence for individuals suffering from depressive illnesses. The range of methodologies employed extends beyond the realm of fashion and textile techniques, to areas such as neuroscience, psychiatry, human sensory systems and affective states, and the increase in popularity of complementary therapies. In this paper the known affective potential of the sense of smell is discussed, by introducing Aroma-Chology as a tool that is worn as an emotional support system to create a personal scent bubble. around the body, with the capacity to regulate mood, physiological and psychological state and improve self-confidence in social situations. The clothing formulates a healing platform around the wearer, by creating novel olfactory experiences in textiles that are not as passive as current microencapsulated capsule systems generally are

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

The future design direction of smart clothing development

Literature indicates that Smart Clothing applications, the next generation of clothing and electronic products, have been struggling to enter the mass market because the consumers’ latent needs have not been recognised. Moreover, the design direction of Smart Clothes remains unclear and unfocused. Nevertheless, a clear design direction is necessary for all product development. Therefore, this research aims to identify the design directions of the emerging Smart Clothes industry by conducting a questionnaire survey and focus groups with its major design contributors. The results reveal that the current strategy of embedding a wide range of electronic functions in a garment is not suitable. This is primarily because it does not match the users’ requirements, purchasing criteria and lifestyle. The results highlight the respondents’ preference for personal healthcare and sportswear applications that suit their lifestyle, are aesthetically attractive, and provide a practical function

Human emotional response to energy visualisations

This is the post-print version of the final paper published in International Journal of Industrial Ergonomics. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2012 Elsevier B.V.Past research has found that frequent energy usage feedback is an important factor in reducing home energy consumption, and that the sensory appeal and cognitive relevance of the feedback are key components of user engagement with energy systems. The visual design of the information interface is important not just due to its role in communicating data of cognitive relevance, but also because the choice of information type and format is important towards achieving interactive Hebbian learning. The objective of the current research study was to investigate the possible effect of image format on the human emotional response to scenes of energy systems, and to evaluate whether any gender related differences in emotional response occurred. An automated PC-based test was developed which utilised five visual image formats (Optical Gray-Scale, Optical Coloured, Optical Augmented, Infrared Gray-Scale and Infrared Blue-Red) and nine home energy scenes (hot water boiler, radiator, water faucet, kitchen oven, tea kettle, toaster, electrical connector, laptop computer and tea mug). The emotional response of the participant was measured in the automated test by means of a Self-Assessment Manikin (SAM) which provided symbolic graphical representations of the human body under various degrees of emotional response, and associated Likert format rating scales for the valence and activation level of the emotional response. Comparison of the results obtained for the different visual scenes suggests that the greatest level of human emotional activation was achieved by the Infrared Blue-Red (thermal image) format, and that, generally, coloured images provided higher levels of emotional activation than gray-scale images. The increased activation achieved by the infrared images suggests attention capturing potential due to novelty, or due to the direct link to heat and energy, or both. Significant differences in emotional response (both activation and valence) were found to occur as a function of gender. The current results provide first guidance which a designer can use when choosing image spectrum and colours to represent energy systems on the displays of thermostats, smart meters and the energy devices. Relevance to industry - The current results provide first guidance which a designer can use when choosing image spectrum and colours to represent energy systems on the displays of thermostats, smart meters and the energy devices. Such design guidance is currently lacking internationally but is of increasing importance due to the expansion of digital devices, internet services and the upcoming internet-of-things

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Happiness is from the soul: The nature and origins of our happiness concept

What is happiness? Is happiness about feeling good or about being good? Across five studies, we explored the nature and origins of our happiness concept developmentally and crosslinguistically. We found that surprisingly, children as young as age 4 viewed morally bad people as less happy than morally good people, even if the characters all have positive subjective states (Study 1). Moral character did not affect attributions of physical traits (Study 2), and was more powerfully weighted than subjective states in attributions of happiness (Study 3). Moreover, moral character but not intelligence influenced children and adults’ happiness attributions (Study 4). Finally, Chinese people responded similarly when attributing happiness with two words, despite one (“Gao Xing”) being substantially more descriptive than the other (“Kuai Le”) (Study 5). Therefore, we found that moral judgment plays a relatively unique role in happiness attributions, which is surprisingly early emerging and largely independent of linguistic and cultural influences, and thus likely reflects a fundamental cognitive feature of the mind