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What are smart textiles?

Sarah Kettley

Source: Designing with Smart Textiles, 2016, Fairchild Books Library

Book chapter

The process of integrating textiles and technology isn’t just surface deep; it actually begins at a molecular level.

Charles James

Rio Ali

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kosuke Tsumura

Alessandro Esculapio

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Mitsuhiro Matsuda

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Visual Merchandising, Retail Design, and Interior Design

Michele M. Granger

Source: The Fashion Industry and Its Careers: An Introduction, 3rd Edition, 2015, Fairchild Books Library

Book chapter

Just as a Web developer builds a virtual business, the architect builds the brick-and-mortar business. The architect is a building designer who may work with a wide variety of structures. Those who specialize in serving retail clients have opportunities for projects ranging from small freestanding retail stores to large malls. These types of business locations are referred to as commercial real estate. Architecture is the creative blend of art and science in the design of environments for people.

Ronaldus Shamask

Shari Sims

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Techno Naturology

Elaine Ng Yan Ling

Source: Fashion Thinking. Creative Approaches to the Design Process, 2013, Fairchild Books Library

Book chapter

‘Naturology’ creates a living form, where interactive behaviour and the form itself become a reflection of their surroundings. Most importantly, the form is constantly evolving. ‘Naturology’ structures provide conditions that allow the design itself to create ever-evolving patterns, and, potentially, silhouettes. The transformation is created though the contrasting behaviour of the material, and the shape memory alloy that responds to the grain from the wood veneer. Although both of the materials

Inspired to Design

Evelyn L. Brannon

Source: Designer’s Guide to Fashion Apparel, 2011, Fairchild Books Library

Book chapter

“Fashion is in the sky, in the street. Fashion has to do with ideas, the way we live, what is happening.”

Three-Dimensional Form

Chris Dorosz and J.R. Watson

Source: Designing with Color. Concepts and Applications, 2011, Fairchild Books Library

Book chapter

Have a look at the form of the three-dimensional objects around you. Whether manmade or natural, try to imagine them contained in one simple geometric form or made up of a few such as a cube, sphere, cone, cylinder, or pyramid. For instance, a car could fit into a rectangular cube nicely or could be broken down into a combination of spheres and ovoid shapes. The forms you are looking at have both volume, the space that they occupy, and mass, their perceived weight and density.

Emphasis

Chris Dorosz and J.R. Watson

Source: Designing with Color. Concepts and Applications, 2011, Fairchild Books Library

Book chapter

Here are some common examples of contrast (see chart on facing page):

Rhythm

Chris Dorosz and J.R. Watson

Source: Designing with Color. Concepts and Applications, 2011, Fairchild Books Library

Book chapter

Think of the ways that rhythm is conveyed visually around us: the bars on a DJ's amp that show the rhythm of music, or the beating of a human heart on a hospital monitor.

Rei Kawakubo and Comme des Garçons

Bonnie English

Source: Japanese Fashion Designers. The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo, 2011, Berg Fashion Library

Book chapter

Vera Mackie (2003: 144)… women [in Japan] were condemned to be ‘mothers’ or ‘whores’.

Fashion, Dress, and Interior Spaces

Peter McNeil

Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library

Encyclopedia entry

Clothes are animated by bodies moving in space, and attitudes toward work and leisure that have changed dramatically across culture and time. In early modern Europe until the eighteenth century, sumptuary laws extended well beyond dress to even the type of finish and materials used in interior design. Other societies, including China and Thailand, continuously attempted to control these appearances. In England in the post-Restoration decades, very wealthy women exhibited new independence in the d

Hussein Chalayan: Controversial Fashion Designer or Bridge between East and West?

Bradley Quinn

Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library

Encyclopedia entry

Artist, filmmaker, architect, designer: descriptions like these are often attached to Hussein Chalayan, a fashion designer and self-styled “ideas person” who forges unexpected alliances between garments, environments, imagery, and technology. Chalayan frequently brokers significant connections between fashion and other creative disciplines. As Chalayan builds bridges between the visual, the ideological, the invisible, and the tangible, his designs challenge preconceived notions of what clothing c

Lesotho

Gary van Wyk

Source: Berg Encyclopedia of World Dress and Fashion. Africa, 2010, Berg Fashion Library

Encyclopedia entry

Lesotho is surrounded by South Africa, where many of its citizens reside, bringing wages and Western clothing home to relatives. Traditional dress is still worn, especially at initiation ceremonies or when honoring the king. The founding ruler, Moshoeshoe I (d. 1870), solidified the Basotho nation by accepting various refugees fleeing troubles in southern Africa in the 1820s, Lesotho being named after the primary ethnic group. While he based Basotho traditions on the values of his people, the Koe

When Is Fashion Design?

Ingrid Loschek

Source: When Clothes Become Fashion. Design and Innovation Systems, 2009, Berg Fashion Library

Book chapter

An object is not a design object as such; it becomes one as a consequence of the pretension with which the object is used. This pretension is based on a social component. A functional object such as a car tyre may become design when adapted into a table, from which the question emerges: When is design? The car tyre is design when it is recognised and declared as such, and thus becomes socially relevant. With reference to the alienation of objects in design, for example a bucket painted in bright

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