Fashion topologies - An Internet of Soft Things

Fashiontopologies

computernetworktopologies

Modular physical circuits

Fashion:Func5onalclothingforthemasses

•  SmartTex*lesMarkets2016-2023-EmergingSecondGenera*onSmartTex*les:Sports,HealthandFashion

Thisreportprovidescoverageofhowthefollowingcategoriesofmaterialsarebeingusedtofabricatecommerciallyavailablesmarttex5les:-Electricallyconduc5veyarnsandthreads-Conduc5vepolymers-Shapememorymaterials-Color-changingmaterials-Phase-changingmaterials-Self-cleaningandan5microbialmaterials-NanomaterialsThisreportcontainsdetailedforecastsofvolume(insquaremetersandunits)andrevenue(in$millions),brokendownby:-Endapplica5on-Typeofmaterial-Fabrica5onmethod

hHp://www.researchandmarkets.com/research/gjwp5s/smart_tex5les

designingfor‘need’

LudwigSvensson DuPont ForsterRohner

context known known unknonwn

enduser business service individual

innova5onlevel machinelevel fabrica5onlevel unknown

maHersofconcern controlledbuiltenvironment

controlledhumanenvironment

dynamicsocio-culturalenvironment

(smart)func5onalapparel

•  Firefigh5ng:Nomex®fibercarbonizesandthickenswhenexposedtotheintenseheatofafire(DuPont).

Collaborators:TineM.Jensen,FashiondesignerKarinEggertHansen,SewingProjectpartners:ForsterRohnerandAlexandraIns5tuHet

(smart)func5onalfashion

commercialprojectss5lllookingforconsumerdemand,

developingconceptualproofofconceptistooriskyatscale

conceptualprojectsmightshowproofofconcept,but

remaincommerciallyunfeasible

TheLevi’sICD+jacketwastheworld’sfirstcommercialwearableelectronicsgarmentviad-

sciencelab.be

Collaborators:TineM.Jensen,FashiondesignerKarinEggertHansen,SewingProjectpartners:ForsterRohnerandAlexandraIns5tuHet

E-tex5leproductsasconsumerelectronics

ifthisishowweexpectthemtobe,it’stheconsumerelectroniccompanieswhowillmakewearablesande-tex5lesonthebodyareality,becausetheyalready

knowabouthumancommunica5on

hHps://www.google.com/atap/project-jacquard/sta5c/videos/jacquard-hero.webm

Howcanwere-designthefashion

innova5onprocesstohelpincrease

feasibilityanddecreaserisk?

Electriccorset:benefitsofdesigningforamodularsystemofdress

customer brand

controloverself-expression fashioncyclescanbesupportedthroughchangingelementsoflargersystemofdress(collec5ons)

controloverfunc5onality Upgradesandnewfunc5onscanbemarketedseparately

Streamlinescareandmaintenanceneeds

Supportsdevelopmentofcareguidelinesandqualitymanagement;facilitatessustainableapproachesandbranding

Adop5oncanbeincremental Processinnova5oncanbeincremental/riskcanbemanaged

Ouraimistodemonstratethewealthofhistoricalar5factsandreferencesavailabletodesignersofsmarttex5lesandwearabletechnologies.Theuseofhistoricalgarmentsandaccessorieswillillustratedimensionsandthemestosupportfuturewearablesandinnova5vefashionandtex5ledevelopment,forexample:

•  func5onality,wash-abilityandmaintenance•  layeringanddetailingforclassandiden5ty(modularity)•  looselydefinedconceptualspacesbetweenclothingandthebody•  adornmentasasiteforcrea5veproductdevelopment

“Fully clothed man carried seventy or more buttons, most of them useless…

…He has at his disposal two dozen pockets.” (Image and quote Rudofsky, 1947: 120 -121)

Many of the items have lost their stories along the way. Descriptive information remains, often put together by the curators.

In-between garments, occupying spaces on the body we don’t consider as separate concerns any more.

Detachable and replaceable garments and accessories.

Now rendered obsolete.

Dickey

Pocket bags

Separate collars

Collar with capacitive pin

Chatelaine

Detachable cuffs with interactions

Potential PhD project Collaborations Further funding options

Background image: Pattern 1873 Museum of Costume Art, New York in Rudofsky 1947, p146

•  ADLINGTON,l.,2015.S5tchesin5me:thestoryoftheclotheswewear.RandomHouseBooks.

•  BARTHES,R.,1969.Elementsofsemiology.London:JonathanCape.

•  RUDOFSKY,B.,1947.Areclothesmodern.Chicago:PaulTheobald.

•  WEISER,M.,Thecomputerforthe21stCentury.Scien5ficAmericanSpecialIssueonCommunica5ons,Computers,andNetworks,September,1991.

Electric Corset is funded by NTU research development funding and acknowledges the support and collaboration of Judith Edgar and Nottingham City Museums and Galleries Costume and Textiles Collection.

sarah.keHley@ntu.ac.uk