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Introduction

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

PlutarchHegel, Georg, Wilhelm FriedrichZizek, SlavojIt is not difficult to credit that statues may have appeared to ooze with sweat, shed tears, or exude something which resembles drops of blood, since wood and stone often gather a mould which produces moisture, and not only display various colours themselves, but take on other tints from the atmosphere, and there is nothing to prevent us from believing that heaven sometimes employs such portents to foreshadow the future. It is also possible that

The Textile Cycle: From Fiber to Fashion

Deborah E. Young

Source: Swatch Reference Guide for Fashion Fabrics, 4th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

The text begins with the smallest part of a textile—fiber—and follows the textile cycle through to the final step, finishing. With increasing demand for more versatile and functional fabrics, finishing and care have become major areas of interest within the textile world, unlimited in their commercial potential. For example, one segment of the textile industry is devoted to fibers and finishing processes that resist stains. In their search for more stain-resistant fabrics, researchers have develo

Designing for the Circular Economy: Cradle to Cradle® Design

Annie Gullingsrud and Lewis Perkins

Source: Sustainable Fashion What’s Next?. A Conversation about Issues, Practices and Possibilities, 2nd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

ANNIE GULLINGSRUD is a Textile & Apparel Associate at Cradle to Cradle Products Innovation Institute. She works to share her ultimate passion for Cradle to Cradle® and help bring Cradle to Cradle design principles and certification to the fashion industry. Annie was introduced to Cradle to Cradle while at California College of the Arts in San Francisco, CA studying sustainable Fashion Design. This methodology brought endless creativity, optimism, and joy to her work. From then on, she began shari

Techno Naturology

Elaine Ng Yan Ling

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

Book chapter

This project concentrates on understanding how the property of materials can become a craft technique. Elaine’s initial idea began with the pure fascination of shape-memory material and how its physical property impacts its relevance within the design industry. The project aims to explore the function of and symbiotic relationship between shape-memory alloy/polymers and the natural sensing system of wood. The intrinsic qualities of natural and artificial materials are investigated using the hybri

Techno Naturology

Elaine Ng Yan Ling

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

Book chapter

After collecting all her data, Elaine had to analyse the results of the experiments. Looking back into the logbooks and revisiting the videos, she explored the hand quality of the fabric and did some durability tests through washing and heating processes.

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

Tensegrity

Aura Taylor

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

Book chapter

My objective in this project was to maintain the organic quality of clothing, not just on the surface with conventional clothing shapes, but also from the perspective of construction.

Intelligent Textiles: The Future of Fashion

Bradley Quinn

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

Encyclopedia entry

Fashion’s engagement with disciplines such as technology, architecture, industrial design, and biochemistry is creating rapid advancements that radically reinvent its relationship to the body and the built environment. As sustainability becomes increasingly important, new materials and production methods are redefining its relationship to the environment. The first “wearable computer” prototypes of the early 1990s were body-mounted devices such as microphones attached to jackets, waistcoats, and

When Is Innovation?

Ingrid Loschek

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

Book chapter

Since Schumpeter, innovations have been understood as inventions that have asserted themselves. This implies two completely different processes—the process of inventing and that of realisation. The innovation, the newly created, presupposes inventiveness, that is the ‘invention’ (cf. p. 31). The association and lack of terminological differentiation between invention and innovation is frequently detrimental to stringent analysis, and the generic term innovation degenerates into a nebulous catchwo

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