China
Africa
Explore chapters and articles related to this topic
Fashion design course, a collaborative online learning experience
Published in Paulo Jorge da Silva Bartolo, Fernando Moreira da Silva, Shaden Jaradat, Helena Bartolo, Industry 4.0 – Shaping The Future of The Digital World, 2020
Fashion sector, as many others, is influenced by disruptive technological changes that affects consumer behaviour and business models. Broader wireless access allows and will continue to push connectivity, instigating the adoption on mobile, augmented and virtual reality experiences (WGSN Vision Team, 2018). This will change the way consumers relate to products, companies and brands. Influential fashion brands have social media presence, with millions of followers, that create content around them and demand more ways to participate in their creative process, personalising the final product (Global Fashion Industry Statistics, 2018). Meanwhile fashion designers work connected worldwide, influenced or partnered with social media ‘influencers’, resort to specialised information platforms, 3D software, and data-driven e-commerce (Statista, 2018a; Statista 2018b). In this context, it is valid to assume that, fashion designers, fashion consumers and fashion learners are part of a community that takes advantage of the online and mobile connectivity to exchange information, to work with multidisciplinary and multicultural teams, in a faster, efficient and cheaper way. It is also valid to assume that the changing behaviour towards the production and consumption of fashion, will require a new kind of ‘fashion designer’, with capabilities like agency, innovation, creativity, and problem-solving. (Guedes, & Buest, 2018c, d).
Interdisciplinarity: Creation of looks and techniques used by UFPE CAA students
Published in Ana Cristina Broega, Joana Cunha, Helder Carvalho, Manuel Blanco, Guillermo García-Badell, Diana Lucía Goméz-Chacón, Reverse Design, 2018
The expression of fashion, especially the fashion of clothing, is approached by Moura (2008, p. 37) as a result of several factors that converge when a designer draws up and develops products, both in industry in the midst of technological advances, as well as by artisanal means that use manufacturing processes. Thus, the fashion designer is seen as the professional: “[…] responsible for the creation and design of the product, for its development and for monitoring its production.”
Virtual reality environment-based collaborative exploration of fashion design
Published in CoDesign, 2023
Eun Kyoung Yang, Jee Hyun Lee, C. Hun Lee
Responding to global market trends and industrial partnerships, diversified consumer needs, and technological advances, designers are now increasingly working to solve complex interdisciplinary problems (Simpson, Barton, and Celento 2008). Furthermore, the recent global spread of COVID-19 is changing how people work together in the globalised fashion production system and raising awareness of digitally mediated collaboration. Accordingly, collaborative exploration is emerging as a key modern design strategy. The highly competitive fashion design market requires a continuous stream of new design content to satisfy diverse and highly mutable consumer needs, and creative collaboration with other disciplines is increasingly necessary (Wang et al. 2017). However, such collaboration is typically considered difficult in fields like fashion design that emphasise individual creativity.
Zero-Waste Pattern Cutting (ZWPC) to tackle over sixty billion square metres of fabric wastage during mass production of apparel
Published in The Journal of The Textile Institute, 2021
Shreshta Ramkalaon, Abu Sadat Muhammad Sayem
Figure 1 presents the strategic framework developed to implement ZWPC for multiple sizes of garments. The first step was to identify design features for the selected styles considering the ZWPC concept. The next step was to start pattern cutting, grading and marker planning simultaneously. These are done in isolation in traditional clothing design process (James et al.; 2016; McKelvey & Munslow, 2012; Tan & Chon, 2016). Fashion designers start with design illustration based on their own research and imagination. They do not communicate or collaborate with pattern cutter at this stage (James et al., 2016). However, this isolation does not support the concept of ZWPC. Tan and Chon (2016) suggested that the collaboration and an overlap of understanding between pattern cutters and designers could help create more efficient designs. Therefore, the approach of this study was to design garment and create pattern pieces for the same garment simultaneously in a seamless process. Two ZWPC techniques identified for this work were the embedded jigsaw method and multiple cloth approach (see Section 1). The multiple cloth approach was adapted and tested for different sizes of same design to be cut from the same fabric and termed as the ‘multiple size approach’ hereafter.
The use of VR for collaborative exploration and enhancing creativity in fashion design education
Published in International Journal of Fashion Design, Technology and Education, 2021
Jee Hyun Lee, Eun Kyoung Yang, Eun Jee Lee, Se Yeong Min, Zhong Yuan Sun, Bai Jiao Xue
However, the evolution of technological and socio-cultural environments requires fashion designers to respond to new technological approaches to creativity and the connectivity of various design problems and situations. Despite the growing awareness of these needs, few specific instructional practices leading to creativity have been identified (Malinin, 2019). Therefore, fashion design education should now actively consider developing new creative instructional models to respond to new experiments and explorations in a changing industrial environment. This study contributes to the generation of theoretical knowledge of designing and developing a new instructional model based on emerging technologies. More specifically, the R2D2 instructional model and the creative thinking process model we used can provide specific methodological guidance to stakeholders considering introducing emerging technologies such as VR into the educational framework of fashion design, promoting collaboration and design creativity.