We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms ( Hetland et al., 2007, 2013 ). Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. An entire (...) season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines. (shrink)

The year 2017 marks fifteen years for me as a fashion educator in Australia and the United States, nine of those in a full-time capacity. My research has focused on various facets of fashion and sustainability for almost as long. In that time many positive developments have occurred, among them, the 2015 Paris Agreement on climate action and the formation of the Sustainable Apparel Coalition in 2010, to name two. Yet an immense amount of urgent work remains. Wallace-Wells (...) presents an apocalyptic near-future caused by anthropogenic global warming;1 within two weeks the online version of the article became New York Magazine's most read in history. It is worth reading in tandem with Rockström et al.,2 as the latter... (shrink)

Fashion design is a feminized occupation, but there is a widespread perception that gay male designers are advantaged in receiving awards, publicity, and praise. This article develops the notion of a “glass runway” to explain this inequality. First, using design canons and lists of award recipients, I show that men, especially gay men, receive more consecration than women. Second, I show how men and women are consecrated differently by analyzing the content of 157 entries in Voguepedia’s (...) class='Hi'>design canon and 96 fashion media articles. Attributions of value and legitimacy construct a gendered image of the ideal fashion designer through discourses of art and culture that reinforce essentialist ideas about gender difference. Because cultural value is ambiguous, processes of valorization are shaped by gender essentialism, pushing male cultural producers down the glass runway and into the spotlight of fame, consecration, and legitimation. Finally, the case of fashion design offers insights into how intersecting inequalities can shape the glass runway. Gay designers experience both valorization and discrimination from intersections of gender and sexuality. (shrink)

This research examines wearable, fashionable interaction design to mediate the narrative and semiotic concepts found in technology and fashion. We discuss the principles of design anthropology using Taiwan proverbs to transmit the “people-situation-reason-object” method and analyze five case studies that provide new approaches for designers engaged in future industry. Design anthropology attempts to engage physiological and psychological design through technological function, meaning formation, and fashion aesthetics to achieve cognition between people and the environment. The (...) wearable, fashionable interaction displays characteristics of narrative and semantics transmitted through craft culture as well as collective, cheerful, and creative performance. It is a confident and innovative attempt, which bears a joyful and fundamental interface. This study takes two directions, with cultural thinking serving as the basis to establish a set of traditional craft designs and interactive objects that assist designers in using the senses to inform and initiate new lifestyle values. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

This essay considers Moscow’s simultaneously peripheral and central position on the global fashion map. It is predicated on a study of imaginary Russian geographies presented in Vogue and other fashion media, advertisements and promotional activities by important fashion brands, as well as the promotional texts and visuals of several new Russian fashion designers. While these different players all contribute to shaping the imagery of Russian fashion today, their agendas and aesthetics differ. This essay identifies three (...) main approaches within the field of the symbolic production of Russian fashion. Western fashion designers and fashion media mainly rely on Russian imperial sartorial heritage in their orientalizing approach to Russian fashion. Secondly, Russian Vogue perpetuates Moscow’s peripheral international fashion position either by passively transmitting derivative Western representations of Russianness, or by reconstructing its own high-fashion versions of traditional Russian decorative style. Finally, several young Russian fashion designers deconstruct both traditional Russian and socialist iconography, in a fundamentally new development for the country’s fashion scene. (shrink)

The role of figurative languages such as metaphor and metonymy in creativity has been studied in cognitive linguistics. These methods can also be applied to analyze non-linguistic data such as pictures and gestures. In this paper we analyze fashion design by focusing on visual metaphor and metonymy. The nature of creativity in fashion design is not fully studied from a cognitive perspective compared to other related fields such as art. We especially focus on the aspect of (...) fashion design as a communication tool between the designer and the audience to convey designer’s image of human. Photos from two fashion shows are analyzed. We carried out an experiment to compare how human images in two shows are interpreted by those who are familiar with fashion and those who are not. We got three results: (1) As far as figurative (metaphorical and metonymic) interpretations of human image are concerned, two groups with different familiarity to fashion have significantly different patterns of responses to two shows. (2) For non-figurative interpretations (such as physical or personal attributes), no significant difference in the pattern of response to the show was observed between two groups. The participants as a whole, however, responded to the two shows differently. (3) In addition for non-figurative interpretation, fashion experts found significantly more attributes in human images than the others. The results show that the analysis of figurative interpreations is effective in seeing how the familiarity to fashion affects the mode of seeing fashion shows. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without (...) an effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

This paper arises out of research on the New Zealand designer fashion industry. An unexpected success story, this export-oriented industry is dominated by women as designers, employees, wholesale and public relations agents, industry officials, fashion writers and editors, in addition to women holding more traditionally gendered roles as garment workers, tastemakers and consumers. Our analysis of the gendered globalization of the New Zealand fashion industry exposes a number of disconnections between women's positions in this industry and the (...) literatures on globalization, clothing and fashion. We argue that the New Zealand designer fashion industry not only embodies new ways of working associated with the movement of first world women into the labour force, but its very success is underpinned by these changes. Our conclusion is that more work is needed to explicate links between globalization and first world women's entry into the labour force. (shrink)

The article analyses fashion as a reflex of philosophy of identity in everyday life. Contemporary fashion is not imaginable without postulation of national and/or regional identity. Worldly recognisable French, Italian and other regional fashions show a variety of models that have recognisability. Internationally recognisable as fashion that represents particular national identity it still can be seen as not the only possible its identity version. Contemporary variety in identity models in fashion design are reflecting identity models (...) in general. Identity is understood as changeable and liquid that can reflect aspects of identity depending on participants of interaction. Fashion, differently, is a form of mass communication that does not change the message depending on the receiver. (shrink)

This paper presents a multimodal analysis of the design of an online fashion shop. Departing from systemic-functional genre theory, it analyses the functionality of the site, bringing out how it designs what sellers do to and for consumers and what the site does and does not enable consumers to do. Drawing on Joos’ analysis of formality in language and Hall’s proxemics, the paper then analyses how the site conceals the power of its functional design by simulating informality (...) and solidarity in a way that ultimately remains one-way and cannot be reciprocated. It finally argues that designs of consumer behaviour similar to that of the analysed site increasingly stand as a model for the digitization of other domains of practice, including education and research, so extending what Fairclough called the ‘marketization of discourse’ into these other domains. (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book (...) explores how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design (...) Includes a foreword by Jennifer Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in (...) which he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. -/- Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales. -/- Copyright 2022 by Society for French Historical Studies. (shrink)

This study looks at the differences and changes observed in the visual design of the covers of French editions of women’s fashion magazines over a period of twenty-one years. To this end, the study aims to identify the changes that can be observed over the years in the design of the covers of the magazines Vogue, Elle, Marie Claire, and Cosmopolitan. However, the main aim of the study is to analyze how these visual signs on the covers (...) of French magazines are designed “differently” and how these signs create a “difference” in comparison to each other. By analyzing these visual elements, the aim of the study is to show the development of design trends and their impact on the visual communication strategies and brand identities of magazines. (shrink)

One of the few philosophers who comments on fashion, Kant claims in his Anthropology from a Pragmatic Point of View that fashion should be classified as vanity and foolishness. He writes ‘it is novelty that makes fashion popular, and to be inventive in all sorts of external forms, even if they often degenerate into something fantastic and somewhat hideous, belongs to the style of courtiers, especially ladies. Others then anxiously imitate these forms, and those in low social (...) positions burden themselves with them long after the courtiers have put them away. – So fashion is not, strictly speaking, a matter of taste (for it can be quite contrary to taste), but of mere vanity in giving oneself airs, and of rivalry in outdoing one another by it.’ (Anthropology, 2006, 7: 246) Kant’s condemnation of fashion depends on him associating fashion exclusively with mere novelty in production (as opposed to true originality) and imitation in fashion’s wearers. In this paper I distinguish fashion understood as invention for its own sake followed by slavish imitation with a true fashion, which like art, involves both taste and ‘genius’ as understood by Kant. Taste involves a judgement of a particular to be, for example, beautiful. This judgement must be one that we can communicate to others. Genius is in fashion that is original and provides a model to others. (See Kant, Critique of the Power of Judgement, 5: 308) While notable designer fashion provides the most obvious examples, this way of looking at fashion does not preclude the possibility of this kind of genius developing outside or alongside the fashion industry. Furthermore, wearers of fashion have to exercise their sense of taste in choosing what to wear and how to wear it. This sense of taste appeals to others and requires an enlargement of our thought just as our taste in art does. Thus seen, fashion and interest in fashion has a potential for improvement of the self as other forms of taste arguably do. (shrink)

Resumen: La ola creciente de la China-chic proporciona un nuevo modo de presentación para la excelente cultura tradicional, permitiendo a la gente volver a ser testigo de la vitalidad innovadora de la cultura local y brindando una nueva vía de creación para la cultura popular rural. En este contexto, el diseño con el tema de la cultura popular rural se enfrenta tanto a nuevas oportunidades como a nuevos retos. En este artículo, basado en el estudio de caso del diseño folclórico (...) rural del Templo señorial del condado de Hexian, en la provincia de Anhui, se analizan brevemente la relación dialéctica y la práctica de la herencia y la innovación en el trabajo de diseño bajo el trasfondo del China-chic. Se propusieron estrategias de diseño innovador para revitalizar el énfasis de la gente en la cultura tradicional, reavivar la atención de la gente hacia la cultura tradicional y ampliar la vía de diseño innovador de una vía de comunicación de la cultura tradicional para promover la transformación creativa y el desarrollo innovador de la cultura tradicional china. (shrink)

Fashion is immediately associated with looks. Its popularity and its most consumerist sides thrive in our current culture of image, further highlighting the connection between fashion and an aesthetic that is quintessentially visual. While it is impossible to deny such a connection, this paper explores the relationship between fashion and touch and fashion and “feel”, two terms that, albeit related, deserve independent consideration. I will begin by emphasizing the importance of seeing fashion in relation to (...) a performative understanding of identity, which is experiential, embodied, situated, and, quite simply, “in movement”. Such an understanding, crucial for a better grasp of sartorial design, is inevitably linked to a tactile understanding of fashion: from the selection of fabrics to the silhouettes and cuts that allow a sketch to move to a garment in three dimensions. But, crucially, a performative understanding of identity is also the starting point for a reflection on touch and fashion in our everyday tasks and judgments, judgments that often move from the aesthetic sphere to other value areas and the broader socio-political context. To further cement my arguments, I will conclude the paper with two case studies: sportswear and maternity wear. (shrink)

Learn how to make ethical decisions on a daily basis. Industry professionals share with you the dilemmas they've faced in their careers around issues like factory conditions, fair wages, fast fashions, designer knock-offs, shoplifting, and controversial advertising, to help you do the right thing. The book covers corporate social responsibility, social media, social compliance audits, diversity, and human rights, among many other topics. Case Studies, Profiles, and other box features highlight current events and notable industry professionals.

In lieu of an abstract, here is a brief excerpt of the content:Fashioning the "Order of Saint Clare." A Rule illuminated by Neri da Rimini:Princeton University Library MS 83 in contextFrances Andrews (bio) and Louise Bourdua (bio)KeywordsRule of Urban IV, Clare of Assisi, Urbanist Clare nuns, Manuscript illumination, Neri da RiminiIntroduction1This interdisciplinary essay is an investigation of an illuminated, early 14th-century copy of the rule of the "Order of Saint Clare" issued by Pope Urban IV in 1263, now in Princeton. (...) It examines the unprecedented visual language adopted in a female Franciscan context to authorize their way of life, and places the manuscript in context, exploring how it relates to other early representations showing Saints Francis and Clare together and documenting the production of this and comparable early rule manuscripts, including a previously unpublished copy now in Venice.2Thousands of manuscript copies of rules of life were produced in and for late medieval religious houses and their members, good numbers of which remain extant, though these are scarce remnants of what must originally have been produced. Rules do sometimes appear in extant library inventories,3 but unlike individual books destined for personal [End Page 75] prayer or study and ultimately deposit in a conventual library, their primary purpose was as legal texts binding all who professed them.4 In their iterative function, read and reread, alone or aloud in the community, they were comparable to liturgical books, though they were not for use in church nor kept in the sacristy.5 In the rule of Urban IV for the Order of Saint Clare investigated here, chapter twenty-four required that the rule be read and explained annually by the visitator, while the final chapter emphasized that it be read once each fortnight lest the sisters neglect it.6 This sort of repetition must have ensured most nuns knew the rule by memory, having first encountered its details as novices, with no need to own the text. Copies were perhaps in the hands of the abbess, a visitator, or other monastic superior, or kept in the chapter room or refectory, ready for routine use.7 Nonetheless, wealthier women may have had a copy prepared or received one as a gift, either on entering the religious life or on becoming a superior responsible for its observance.8Princeton University Library, Manuscripts Division, Department of Rare Books and Special Collections, MS 83, contains a Latin, [End Page 76] professionally made and illuminated copy of the text designed to substitute existing rules, including the 1219 Forma Vitae issued by Cardinal Hugolino and the rule of Innocent IV from 1247.9 Clare's own hard-fought for rule, approved in 1253, was initially for the San Damiano community alone and was followed in subsequent decades by a very small group of houses.10 The making of Urban IV's rule, adopted instead by hundreds of communities, has been much discussed, but the survival of this early illuminated copy has gone unnoticed outside the library catalog.11 The manuscript includes the earliest extant sequence known to us showing Clare of Assisi receiving the rule from the pope and in turn taking the profession of her sisters, images designed to legitimize the new order by building ties to its "founder" while yet acknowledging its papal origins. Among extant imagery it is pioneering. The large, illuminated initials have been recognized as painted by Nerius da Rimini and his workshop but the case has never been set out and PUL MS 83 has [End Page 77] not been included in accounts of this artist's production.12 Better known as "Neri," he is a comparatively well-documented manuscript illuminator whose signatures sometimes survive on his work, a rare practice at this date.13Historians of medieval women religious are by now familiar with books produced by women themselves.14 A beautiful manuscript, for example, containing Bonaventure's Legenda Maior of Saint Francis, the Vita beati Antonii and documents relating to the Portiuncula indulgence was written in Latin in 1337 by two sisters, Elspet von Amberk and Katerina von Purchausen, perhaps living in the Paradies convent in Diessenhofen (Switzerland).15 Other women have been identified as skilled illuminators.16 The prolific activity of... (shrink)

The attention that prominent fashion houses have been paying to climate change and environmental concerns has never been so prominent. Fashion week of 2019 and 2020 made such a concern a staple of the fashion discourse. Designers and fashion houses are exploring fabric alternatives such as Piñatex (derived from discarded pineapple skins), they are advertising their runways as “carbon neutral,” and fashion colossuses such as Burberry, Gap, Levi’s, and H&M are vowing to reduce greenhouse gas (...) emission by 30% by 2030. However, the genuine nature of such intentions is not impermeable to criticism. While “sustainable fashion” – arguably the “it” vocabulary choice of the past couple of years – certainly has its praiseworthy sides, it is also, at times, another strategy to spike consumerism. In this chapter, I aim to investigate the viability of fashion’s current interest in environmental concerns in light of an analysis of fashion’s most indisputably prominent side: its relation to the aesthetic realm. Playing along the lines of the analytic debate gauging the relative impact of ethical values over aesthetic values and vice versa, I will consider how aesthetic demands can be steered by the necessity of ethical reflection without for this reason erasing, or at least hiding, the appreciation of style, glamour, and couture. I will conclude with a reassessment and potential solution, based on the inherently performative side of fashion, to the question of whether sustainable fashion can be seen as a current, viable, and potentially effective way of responding to contemporary environmental concerns. (shrink)

Through an examination of the bacteria that produce the cellulose, an investigation of the growing process and properties, and a discussion of an artistic exploration, one can fully grasp bio cellulose’s potential in becoming a synergist for sustainable fashion. This new creative and radical approach re-imagines the future materials for fashion and other fields requiring textile applications that are grown and renewable. Questions how textile can be created to be sustainable, biodegradable and infinitely reusable and mainly what the (...) paradigms for the new aesthetics are. The aim of this article is to convey the need for new biomaterials inspired by nature. (shrink)

Grounded in long-term ethnographic fieldwork in New Delhi’s fashion industry, this article explores the pressing question on the designer’s mind, namely: how do I align the desires of others with my (master)-desire? This question points us towards an investigation of how people’s affects are mobilized and directed through commercial rituals such as fashion shows set within hyper-designed theatrical play-spheres. Translating the invisible or covert mobilization of affects into profit has been on the mind of advertisers for the last (...) decade. However, analysing such deliberately covert strategies of capture employed in two cases – JJ Valaya’s haute couture shows and Nitin Bal Chauhan’s youth brand – we realize that it is precisely their failure at being covert that makes them effective; clients know full well about them. Robert Pfaller’s theory of ‘illusions without owners’ can throw some light here on why clients passionately embrace the desire of capital precisely against their better knowledge. (shrink)

This chapter contains sections titled: What Can Be Fashionable? From Pugs to Poodle Skirts Do Masses Matter? Robinson Crusoe's Runway Do Experts Matter? Khaki Glory Do Intentions Matter? Accidental Chic Do Aesthetics Matter? Form Over Function Does Identity Matter? Tribal Colors Does Timing Matter? To Everything, There is a Season Conclusion: What Matters?

In recent years, the animation industry has achieved unprecedented development trends, and many excellent animation works have emerged in China, which are popular with audiences. Among all kinds of animation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chinese animation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, providing a direction for (...) further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in the animation art is about to attract more attention from capital and entrepreneurs. In animation art design, the most important core concept is artistic creativity. Due to China's lack of originality in animation design for a long time, this paper attempts to revive China's animation art design by applying traditional innovative ideas in the fashion transformation of animation art design schemes. This new artistic expression method is aimed at better expressing the theme of animation activities, maximizing the value of animation works and promoting the development of animation industry. Through the transformation and innovation of traditional philosophy and culture and animation art customization, this paper explores the transformation and innovation of traditional philosophy and culture and animation art customization in order to provide some reference for the development of animation industry. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, (...) characterized by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, (...) characterized by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

I am an audiovisual artist, designer, and researcher. Since 2015, I have been working on a practice-based research project that explores sonic value and sonic identity in the field of fashion design. My research project "Aesthetics of the Invisible: Toward a Sonic Fashion Ontology" focuses on the nonvisual aesthetics of fashion and uses speculative design methods to explore the possibilities of forming future sonic identities. By considering the ways in which we could reconceive fashion (...) as a sonic experience, my research aims to inspire alternative forms of design thinking for fashion design education that would reflect fashion's nonvisual aspects.We are born into a humanly developed world that is already designed.... (shrink)

This chapter contains sections titled: Design as Problem‐Solving or Design as Fashion? The Rise of Design As a Profession: Is Design a Response to Consumerism? Consumerism, Self‐expression, and The “Invention” of Design Consumerism Is Not Essential to Design Were Neolithic Flint Tools Designed? Can We Avoid Designing? – The Idea of “Useless Work” The Function and Value of Fashion.

Designer babies are often presented in the popular media as a kind of apocalyptical spectre of things to come in a brave new world where reproduction is the province of white coated scientists and potential parents in pursuit of trophy children. In this realm physical, intellectual, and social perfection is sought through the manipulation of genes and selection of favoured traits and attributes to the detriment of individuals who cannot compete and of society more generally through the loss of natural (...) selection. It is therefore a pleasure to discover a short readable book that sets out the discussion and its many nuances in concise and accurate terms that will be accessible to all and should help to dispel some of these science fiction myths through scholarly debate.This volume is part of a collection of books under the title Debating Matters that sprang out of a series of public debates organised by the Institute of Ideas. The conferences were intended to reinvigorate debate and the contestation of ideas and contemporary issues the Institute regards as “too frequently sidelined”. The arguments are presented by an authoritative who’s who of commentators who offer their own insightful readings of various aspects of the debate. Each essayist confirms the fact that the term “ designer babies ” is an inaccurate reflection of the current ability of science to actively fashion children with selected characteristics, and as a result …. (shrink)

One of the greatest problems facing luxury goods firms in a globalizing market is that of counterfeiting. The purpose of this paper is to analyze the different types of counterfeiting that take place in thefashion industry and the ethical issues raised. We argue that the problem partly lies in the industry itself. Copying of designs is endemic and condoned, which raises several ethical dilemmas in passing judgment on the practice of counterfeiting. We analyze the ethical issues in a number of (...) different types of counterfeiting encountered in the fashion industry. We conclude with some observations on the general implications for ethics in intellectual property rights. (shrink)

This research has purpose to take local woven or “Pahkahmah” which is a cultural product of the local woven of Nong Kao district in Kanchanaburi province of Thailand to develop for and applying with contemporary fashion design in order to increase its value. The process of creation in this research has 5 steps as 1. Create concept and inspiration 2. Design collections for the improved textiles 3. Create decoration technique for the improved textile and collections 4. Create (...) the prototype collections and products 5. Evaluate satisfactory for the prototype collection and products. The improved textiles were used in making 3 collections of fashion apparels and costume accessories in street fashion for present lifestyle. Knowledge to improved and develop local Pahkahmah woven textile and the idea from prototype collections and products from this research was relayed to makers of Pahkahmah woven textile in Nong Kao district, Kanchanaburi province. Evaluation for satisfactory to the creative idea and developed textile products by representatives of Pahkahmah woven textile maker community and consumers revealed average score 4.45 with standard deviation 0.27. Knowledge from this research become a guideline for sustainable development and innovative idea for increasing commercial value to the local Pahkahma woven products of Nong Kao district community. (shrink)

Data center technology changes the mode of computing. Traditional DCs consist of a single layer and only have Ethernet connections among switches. Those old-fashioned DCs cannot fulfill the high resource demand compared with today’s DCs. The architectural design of the DCs is getting substantial importance and acting as the backbone of the network because of its essential feature of supporting and maintaining the rapidly increasing Internet-based applications which include search engines and social networking applications. Every application has its parameters, (...) like latency and blocking in the DC network. Every data center network has its specialized architecture. It has a specific arrangement of layers and switches, which increase or decrease the DC network’s efficiency. We develop a simulation tool that comprises two different DC architectures: basic tree architecture and c-Through architecture. Using this simulation, we analyze the traffic behavior and the performance of the simulated DCN. Our main purpose is to focus on mean waiting time, load, and blocking with respect to the traffic within the DCN. (shrink)

Advances in fashion pattern construction technologies continually introduce novel approaches that address the limitations of existing practices. To keep pace, these emerging technologies must be widely disseminated to update practitioners’ skills and advance current practices. The literature identifies two primary dissemination methods: the traditional instructor-led method and the learning management systems-based open educational resources (LMS-based OER) method. The former, heavily reliant on apprenticeships for technical skill development, is inefficient, ineffective, and unsustainable. In contrast, the OER-based approach offers a more (...) efficient, effective, and sustainable alternative, positioning it as the superior method for disseminating emerging technologies in this field. However, the effective establishment and implementation of effective OERs require an OER-oriented instructional design model (IDM) tailored to the specific learning needs and large-scale adoption theories pertinent to pattern construction. Currently, such a model is absent, hindering the field’s transition to a theory-based dissemination approach customised to its unique practices and impeding the efficient, widespread adoption of novel pattern construction technologies. Using a developmental approach, this study addresses this gap by introducing a novel OER-oriented IDM termed OER-PattEdu. This study contributes to both theoretical and methodological literature and holds practical implications for transforming lifelong learning and professional development in the field into a more efficient and sustainable paradigm. (shrink)

The article examines the place of graphic design in modern post-industrial society, extending beyond purely applied art and aspiring to play the role of an expert in the interiors of human existence, determining the social and cultural status of an individual. It is argued that graphic design, organically integrating into contexts and actively responding to the challenges of such a social-decorative phenomenon as fashion, plays a significant role in shaping taste culture. This attests to the multiplicity of (...) ambivalent cultural manifestations of graphic design. Special attention is given to identifying the functional potential of graphic design in creating cross-cutting trends that, through non-verbal means of communication, can form and maintain social and cultural unity. In connection with this, an analysis of graphic design is carried out through the prism of philosophical communication, allowing the identification of graphic design as the most effective practice of nonverbal communication and information visualization in post-industrial society. It is determined that graphic design is capable not only of generating new meanings but also of creating communicative gaps. Given this specificity, the article particularly focuses on identifying the educational and upbringing potential of graphic design. It is demonstrated that the process of creating visual images and their subsequent interpretation by consumers of graphic information depends not only on the aesthetic taste, ethical beliefs, and humanistic orientation of the designer (visualizer) but also on their educational and upbringing potential. The necessity of strengthening humanistic orientations in modern Ukrainian design and art education is emphasized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Towards a Design-Based Analysis of Emotional Episodes”Margaret A. Boden (bio)The theoretical work of Wright, Sloman, and Beaudoin is a significant contribution to our understanding of the nature and function of emotions, and potentially also to therapeutic method. Their message that emotions, as controlling and scheduling mechanisms, are essential to any complex intelligent system (that is: one with multiple and potentially conflicting motives, and situated in a (...) changing and unfriendly world) is important. It encourages cognitive psychologists to regard emotions as a central aspect of intelligence, not to sideline (or even to forget) them, as is too often done. In addition, it shows—at least in general outline—how emotions might be understood in computational terms.Critics of computational psychology too often assume that emotions and motivation must lie outside its scope. This is not so, although it is true that relatively little computational work has been done in this area. Interestingly, the very early days of AI saw a comparatively high proportion of models of multiple goal-seeking, affective processes, and even personality (see, for example, the papers in Tomkins and Messick 1963). But, inevitably, these were so crude as to be almost useless in illuminating the nature of emotion and motivation. As AI-workers and their psychologist colleagues found to their cost, it is difficult enough to model the pursuit of one goal, never mind the pursuit of several mutually conflicting goals. Accordingly, personality and emotion soon faded from the scene as preferred topics of computational research—but not before I too had argued that they could, in principle, be so addressed (Boden 1965; 1972).I suggested—in the sketchiest terms—that the concepts of William McDougall’s personality theory could be interpreted in a computational fashion (Boden 1965; 1972). His concept of sentiment, for example, marks what Wright et al. call “goal-sets,” and his master sentiment of self-regard relates to the descriptive and normative aspects of the self-image to which they draw our attention. He even described emotions as (conscious) control mechanisms, enabling the subject to monitor the incipient excitement of distinct types of motivation, and (sometimes) to adjust behavior so as to facilitate or inhibit the otherwise-inevitable response. What the target-authors have done is to put subtle and sophisticated computational flesh onto these minimalist theoretical bones.McDougall himself, of course, will be turning in his grave. He saw affect as partly conscious (as well as dispositional), and argued that consciousness—and purposive behavior too—cannot possibly [End Page 135] be given a mechanistic, or physicalist, explanation. Despite Wright et al.’s persuasive anti-reductionist remarks about the necessity for highly abstract (psychological) levels of explanation, he would not have accepted that such explanations could be computationally grounded. He even insisted that the neurophysiological ground of goal-seeking behavior involved a special sort of energy, or horme, intrinsically directed to specific ends. Presumably, no professional reader today would agree with McDougall on that point. But many may agree with him about consciousness. And many more will insist that consciousness is a crucial aspect—perhaps the crucial aspect—of emotion. Such critics will doubtless point out that our three authors explicitly “factor out,” or refuse to discuss, consciousness as such.Wright et al.’s rhetorical reserve on this point is defensible on two counts. First, even though emotions do involve conscious sensations, the dispositional and control aspects of affect are at least as important. Indeed, it is evident from the quotations from individuals reacting to bereavement that people often describe the phenomenology of grief in terms of these sorts of factors, rather than in a “purely qualitative” fashion (whatever that might be). Even so, these dispositional aspects of emotion are often overlooked, or regarded as less significant than the conscious phenomenology. And second, theoretical psychologists in general sideline consciousness: either they ignore it entirely, or they take it for granted philosophically and ask about the conditions under which it appears or disappears. They are well advised to do so, since we do not yet understand this concept (more accurately: this mixed bag of related concepts) at the philosophical level. Even a journal whose title has “Philosophy” as its leading... (shrink)

Autoinhibition is a design principle realized in many molecular mechanisms in biology. After explicating the notion of a design principle and showing that autoinhibition is such a principle, we focus on how researchers discovered instances of autoinhibition, using research establishing the autoinhibition of the molecular motors kinesin and dynein as our case study. Research on kinesin and dynein began in the fashion described in accounts of mechanistic explanation but, once the mechanisms had been discovered, researchers discovered that (...) they exhibited a second phenomenon, autoinhibition. The discovery of autoinhibition not only reverses the pattern in terms of which philosophers have understood mechanism discovery but runs counter to the one phenomenon-one mechanism principle assumed to relate mechanisms and the phenomena they explain. The ubiquity of autoinhibition as a design principle, therefore, necessitates a philosophical understanding of mechanisms that recognizes how they can participate in more than one phenomenon. Since mechanisms with this design are released from autoinhibition only when they are acted on by control mechanisms, we advance a revised account of mechanisms that accommodates attribution of multiple phenomena to the same mechanism and distinguishes them from other processes that control them. (shrink)

The paper discusses the impact of artificial intelligence (AI) on the fashion industry, highlighting both its transformative potential and the ethical challenges it presents. Key ethical issues identified include privacy concerns, the need for accountability in AI decision-making, the importance of transparency and explainability in AI systems, and the risks of bias and discrimination in AI algorithms. To navigate these challenges, the paper suggests that the fashion industry should focus on protecting consumer privacy, enhancing cybersecurity, ensuring transparency, and (...) preserving consumer autonomy. It also recommends updating legal and ethical standards, conducting ethical technology assessments (eTA), and employing a technology ethical foresight (TES) approach to promote responsible AI integration. The paper emphasizes the importance of ethical AI for maintaining consumer trust and satisfaction, noting that ethical frameworks can guide the design and deployment of AI systems in a manner that upholds ethical values. The paper concludes that ethical AI is not only a moral imperative but also a strategic benefit for the fashion industry, contributing to a sustainable and favorable future. (shrink)

As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns for thousands of years. (...) With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design. (shrink)

The late Vivienne Westwood sketched a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides (...) for us to exercise and cultivate virtues such as courage, self-expression, imagination, wit, or authenticity. Our engagement with art can subsequently be genuinely life-enhancing in lieu of the constitutive role the virtues play in living well. The present study takes Westwood’s claims as a jumping-off point, considering how they speak not just to her own designs but to our relationship with our clothes more broadly. Fashion is defended as a practice that performs this function in analogous ways to other genres of art and thus has clear artistic value as well as enables us to live well. Given this potential, just as Westwood claimed, there are reasons to perform the practice well because it has importance for the ways in which it can realise artistic value and aid us in living well. (shrink)

Deep learning methods have been applied to randomly generate images, such as in fashion, furniture design. To date, consideration of human aspects which play a vital role in a design process has not been given significant attention in deep learning approaches. In this paper, results are reported from a human- in-the-loop design method where brain EEG signals are used to capture preferable design features. In the framework developed, an encoder extracting EEG features from raw signals (...) recorded from subjects when viewing images from ImageNet are learned. Secondly, a GAN model is trained conditioned on the encoded EEG features to generate design images. Thirdly, the trained model is used to generate design images from a person's EEG measured brain activity in the cognitive process of thinking about a design. To verify the proposed method, a case study is presented following the proposed approach. The results indicate that the method can generate preferred designs styles guided by the preference related brain signals. In addition, this method could also help improve communication between designers and clients where clients might not be able to express design requests clearly. (shrink)

This paper addresses the intellectual motivation of some of those involved in the intelligent design movement. It identifies their concerns with the critique of the claim that Darwinism offers an adequate explanation of prima facie teleological features in biology, a critique of naturalism, and the concern on the part of some of these authors including Dembski, with the revival of 'Old Princeton' apologetics. It is argued that their work is interesting and is in principle intellectually legitimate. It is also (...) suggested, however, that it needs to be appraised qua 'research programme' (after the fashion of the early work of Lakatos), and that, seen in that light, what needs to be accomplished might seem daunting. (shrink)

Among the many teaching methods, inquiry-based teaching is considered to be an effective way for students to learn and solve problems on their own. However, most of the research related to inquiry-based teaching and learning has concentrated mainly on K-12 education, while few to no studies have focused on the application of inquiry-based teaching and learning in project design courses at university level. Therefore, in order to expand the understanding of the application effect of inquiry-based teaching at university level, (...) this study adopted the quasi-experimental design method, and through the purposive sampling method, 20 students from the Department of Fashion Design at a University of Science and Technology were invited to participate in this study. During the 9-month period, teaching experiments were carried out using two inquiry models, QC/ADEAC and QD/ODEAC. First, when participants were thinking of a creative topic, they followed the process: Question, Collection/Analysis, Discussion, Explanation, Amendment, and Confirmation in the course. During the production process, the participants were allowed to improve on their work through the process of Question, Doing/Observation, Discussion, Explanation, Amendment, and Confirmation. The teacher became a true guide, so that the participants could explore and work out how to improve their designs through independent inquiry and practice. In this study, questionnaires were administered to participants at five important stages of the design project: “theme development,” “color development,” “first Work,” “second Work,” and “third Work.” The results of the five surveys showed that the participants’ curriculum interest, curriculum value perception, and curriculum confidence in the inquiry program all increased. (shrink)

Abstract“Integrative Social Robotics” (ISR) is a new approach or general method for generating social robotics applications in a responsible and “culturally sustainable” fashion. Currently social robotics is caught in a basic difficulty we call the “triple gridlock of description, evaluation, and regulation”. We briefly recapitulate this problem and then present the core ideas of ISR in the form of five principles that should guide the development of applications in social robotics. Characteristic of ISR is to intertwine a mixed method (...) approach (i.e., conducting experimental, quantitative, qualitative, and phenomenological research for the same envisaged application) with conceptual and axiological analysis as required in professional studies in applied ethics; moreover, ISR is value-drivenand abides by the “Non-Replacement Principle”:Social robots may only do what humans should but cannot do. We briefly compare ISR to other value-sensitive or value-directed design models, with a view to the task of overcoming the triple gridlock. Finally, working from an advanced classification of pluridiscplinary research, we argue that ISR establishes a research format that can turn social robotics into a new transdiscipline. (shrink)

The Tang Dynasty is renowned for its cultural richness and openness to external influences, which significantly impacted the aesthetics of its costume designs, as depicted in contemporary murals. This paper explores the intricate clothing patterns and shapes featured in Tang Dynasty murals, utilizing high-definition microscopic analysis to uncover the profound artistic and symbolic significance embedded within these garments. The study reveals that the clothing patterns are predominantly linear and elongated, with wide cuffs and streamers, while the shapes primarily encompass triangular, (...) rectangular, and oval forms. These elements are executed in a palette of predominantly white, red, blue, and brown, using predominantly lightweight materials like silk, indicative of both aesthetic appeal and functional design. This research delves deeper into the philosophical and religious symbolism of these designs, examining how these ancient motifs influence modern fashion clusters and contribute to contemporary clothing design. The findings suggest that Tang Dynasty apparel exhibits a sophisticated interplay of form and function, enriched with philosophical and religious connotations that resonate with modern design principles. This historical continuity not only deepens the cultural and symbolic dimensions of contemporary fashion but also enhances brand identity and competitive edge in today's global fashion markets. By tracing the lineage of these artistic characteristics from ancient murals to modern clothing collections, this paper highlights the enduring influence of Tang Dynasty aesthetics on modern fashion, suggesting that ancient art forms can provide significant insights into contemporary design practices, especially in the context of enhancing philosophical and religious expressions within the fashion industry. (shrink)

I will offer a conceptual analysis of different notions of structure and function of viral immunogens and of different structure-function relationships. My focus will then be on the mechanisms by which the desired immune response is induced and why strategies based on three-dimensional molecular antigen structures and their rational design are limited in their ability to induce the desired immunogenicity. I will look at the mechanisms of action of adjuvants (thus the wordplay with Janeway's "immunologist's dirty little secret"). Strategies (...) involving adjuvants and other (more successful) vaccination strategies rely on taking into account activities and functions ("what is going on"), and not just the structures involved ("who is there"), in binding in a "lock and key" fashion. Functional patterns as well as other organizational and temporal patterns, I will argue, are crucial for inducing the desired immune response and immunogenicity. The 3D structural approach by itself has its benefitsand its limits, which I want to highlight by this philosophical analysis, pointing out the importance of structure-function relationships. Different functional aspects such as antigenicity, immunogenicity, and immunity need to be kept separate and cannot be reduced to three-dimensional structures of vaccines. Taking into account different notions of structure and function and their relationships might thus advance our understanding of the immune system and rational HIV vaccine design, to which end philosophy can provide useful tools. (shrink)

This essay explores an aspect of Cicero's use of cultural writing for political ends: his employment of the epideictic rhetorical mode in two of his speeches, Pro Archia and In Pisonem. The epideictic is a ludic rhetorical domain that embraces paradoxes: it encompasses both praise and blame, is both markedly Greek and proximate to the Romans' laudatio funebris, and is associated both with textual fixity and viva voce improvisation. The epideictic mode is thus an ideal vehicle for Cicero's self-fashioning and, (...) moreover, constitutes a framework which reveals that Cicero's encomiastic defense of Archias' Roman citizenship and his invective against his aristocratic nemesis Piso are polar and complementary opposites. The self-consciously literary quality of epideictic allows Cicero to transform the Pro Archia from a legal defense to a general meditation on literary culture in which Cicero blurs himself with his client to defend his own status within Rome's elite while fixing his version of his consulate in ornate prose. The Pro Archia simultaneously becomes a simulacrum of the poem which Cicero hopes Archias will write and Cicero's own pre-mortem funeral oration. Yet the Pro Archia's suppressed legal arguments pregure the eventual failure of his immediate self-fashioning aims. The In Pisonem's invective inverts the Pro Archia's self-fashioning strategies in order to debunk Piso's image and to recuperate Cicero's own prestige at the expense of Piso's. The In Pisonem has the same long-range cultural ambitions as the Pro Archia, but without the previous speech's hopes for tangible short-term success. Faced with his inability to cause Piso real political damage, Cicero crafts an ornately polished caricature of Piso designed to achieve canonical longevity. Cicero's reception by the orators of Seneca's Suasoriae and Controversiae gives evidence of the successes, and limitations, of these long-term cultural goals. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading (...) players in their efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)