Development of Art Fashion by Integrating Digital Art and Digital Textile Printing

[2022 International Conference for ADADA + CUMULUS] 26 - 27 November 2022, OnlineFashion and art are essential elements of human life because they enrich people's daily lives. As art has a business model of small-scale production and fashion has a business model of mass production, there was no point of contact between the two. However, these two areas are approaching with the spread of digital art in the art world and the emergence of digital textile printing technology in the fashion world. Combining digital art and digital textile printing creates new possibilities for art to enter our everyday life as art fashion. This paper describes our attempt to create fashion from digital art under the concept of "wearing art" through joint research between a university and a company

Digital future of luxury brands:Metaverse, digital fashion, and non-fungible tokens

Abstract Leading luxury brands have incorporated technologies to recreate brand images and reinvent consumer experience. The fashion industry is experiencing a historic transformation thanks to emerging technologies such as blockchain and non-fungible tokens (NFTs) along with impactful technologies such as artificial intelligence (AI), machine learning (ML), and virtual reality (VR). With metaverse as a new social platform around the corner, academics and industry alike are querying how these new technologies might reshape luxury brands, reinvent consumer experience, and alter consumer behavior. This research charts new academic territory by investigating how newly evolved technologies affect the fashion industry. With practical examples of luxury brands, this article has theorized the irreversible trend of digital fashion: the attraction of NFT collectibles. It then proposes intriguing questions for scholars and practitioners to ponder, such as will young consumers, essentially living online, buy more fashion products in the digital world than in the real world? How can the fashion industry strategize for the coexistence of digital collections and physical goods

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’

Fashion, Digital Technologies, and AI. Is the 2020 Pandemic Really Driving a Paradigm Shift?

Is the COVID-19 pandemic going to force the fashion industry to rethink herself and push it to embrace digital technologies more massively than before? The answer is most likely \u201cyes\u201d, but the question is somewhat ill-posed. In fact, the fashion world, especially haute couture, has always been very keen to innovation and to digital technology. Even before the current situation, there have been experiments that encompass every part of the fashion ecosystem, including smarter supply chain and manufacturing, design of new materials, new ways of presenting fashion with digitally augmented shows. While other businesses are hardly learning that digital is the way to go, the fashion world seems to have found this insight a long time ago and has been a fertile field for digital applications for a long time. For example, the commercial model has already shifted from being centered around retailers to being heavily reliant on online shopping. Not only this, but we are also seeing an increasing number of so-called digital native fashion brands, that is brands designed from the ground up to be entities of the digital world. This new way of selling fashion has been leveraging big data for some years now. Nonetheless, the abrupt change in our life dictated by the global advent of COVID-19, with the measures taken to mitigate it, like quarantine for example, is most certainly having an further effect on this industry, at all levels, from haute couture to fast fashion, from big brands to small ones. Some few examples include big fashion shows, where dazzling set pieces and parties are no longer possible, replaced by internet live streams. Even big fairs are now hosted as online events, with many brands launching digital applications that allow customers to try clothes virtually. All this considered, while it is certainly true that what happened in 2020 has had the primary effect of relegating retail stores almost to mere warehouses, with the catastrophic possibility they can even disappear in the foreseeable future, yet we believe that the correct question to ask is whether this phenomenon has just started now or has simply accelerated with the onset of the COVID-19 pandemic.In this paper, we favor this second hypothesis, and maintain that the current shift in the fashion industry practices and priorities follow a trend started may years ago, that the spread of the virus has only emphasized

Development of Art Fashion by Integrating Art and Digital Textile Printing

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering book series (LNICST, volume 479)11th EAI International Conference, ArtsIT 2022, Faro, Portugal, November 21-22, 2022, ProceedingsFashion and art are essential elements of our life because they enrich people’s daily lives. As art has a business model of small-scale production and fashion has a business model of mass production, there was little point of contact between the two. However, these two areas are approaching with the spread of digital art in the art world and the emergence of digital textile printing technology in the fashion world. Combining digital art and digital textile printing creates new possibilities for art to enter our everyday life as clothing. This paper describes our attempt to create fashion from digital art under the concept of “wearing art” through joint research between a university and a company

Development of Art Fashion by Integrating Art and Digital Textile Printing

[NICOGRAPH International 2022] 4-5 June 2022, virtual conference.Recently digital art using digital technology has emerged and has been well recognized. On the other hand, digital textile printing technology has recently emerged in the fashion world, making it relatively easy to produce small-lot, high-mix garments. Combining this digital art with digital textile printing creates new possibilities for art to enter our everyday life as clothing. In this paper, we will describe the contents of our attempt to create fashion from digital art under the concept of "wearing art" through joint research between companies and universities

Pyramide: The Changing Power Structure of Fashion

This project examines the changing world of fashion in an interactive digital magazine format. In the past few years, fashion has increasingly been democratizing, as new designers and forms of media increasingly gain influence. Ready-to-wear designers are working with lower-end brands through collaborations, redefining what each brand is supposed to do, while blogging is allowing those whose voices are usually unheard to openly critique and influence fashion. Overall, they are creating a more democratized space, challenging what was once normal in the fashion industry

An experimental study to test a 3D laser Scanner for body measurement and 3D virtual garment design in Fashion education

Artists, scientists, anthropometrists and tailors have accurately measured the human body with traditional tools, such as tape measures, callipers and accumulated visceral experience for centuries. Due to the progressive acceleration in the quality of 3D graphics technology and computer processing power, many product industries that traditionally use 3D software as a 3D design and prototyping tool, are also successfully measuring, customizing and re-engineering the products they design and manufacture through the integrated use of 3D Laser scanning technology. In the changing world of Fashion, 3D graphics technology has at last emerged from the shadows of academic research projects and hit the high streets. 3D body measurement surveys, using mobile 3D laser scanners, have mapped the true shape and body sizes of the UK and USA populations. Virtual fit and 3D visualisation technology has expanded out from the Internet, into the physical world, and is now available for shoppers to visualise made to measure garments. The acceptance of three-dimensional body-scanning and 3D digital design tools into our everyday experiences can be seen as a significant move toward encouraging and developing new, innovative learning and teaching methods in Art & Design education. This paper describes an experimental study into the application of 3D laser scanner technology for use in learning and teaching of undergraduate and postgraduate fashion and textiles design; clothing manufacture, fashion marketing, merchandising and promotion. The study focuses on testing the 3D scanning equipment with a student sample group. The use of the sample group attempts to simulate a range of body shapes, categorised by the traditional standard size chart specification method, currently used to design new fashion collections for high street clothing retail and UK fashion education. The methods applied for evaluation and testing of the 3D laser scanner for body measurement are described, and the results of the initial user experiences are discussed. The study seeks to establish the overall efficiency of 3D scanning technology and investigates the potential value for integration of the 3D Laser scanner with 3D clothing design and construction software. Conclusions provide recommendations on the potential effectiveness of connecting the results of the 3D body measurement study to the fashion curriculu

3D fashion and the design of the future

The global pandemic has brought real fashion shows to a standstill that leads to a new digital era entering the fashion world. The problem of material waste and pollution lies deeper even best-known fashion houses that lead the fashion industry destroy their ready-made products that are in a perfect condition if they are not purchased within a certain period of time. The committed conservatives of the fashion business might never accept new emerging technologies, real-life models are at risk of losing their jobs to the digital ones, and the vital spark of the fashion shows gets lost among the latitude of the digital world. Nonetheless, whether one fancies it or not, the digital technologies are taking over and in this case even helping to stop the negative effects of pollution and the spread of coronavirus

New York Fashion Industry Goes To The Fair

At the beginning of the twentieth century New York City was the garment manufacturing capital of the United States of America, but it was not considered a fashion reference for the world. This study examines the role of the New York World\u27s Fair of 1939/1940 as the first event where the New York fashion industry presented itself as a consolidated enterprise. To capture this important moment in fashion history, I examine the overlooked New York World\u27s Fair archives from the New York Public Library and engage them with secondary research on American fashion history. With the use of digital tools like Voyant and Many Eyes, I aim to visualize the network of the fashion industry actors that joined forces to organize the fashion exhibits at the New York World\u27s Fair of 1939/ 1940 and the changes between the two seasons. By centering my study on the Hall of Fashion and World of Fashion exhibitions at the New York World\u27s Fair of 1939/1940, I explore a disregarded story of the consolidation of the American fashion industry