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DESIGN ADVENTURES BRICE FONTAINE Design Manager

70 Rue de la Folie MĂŠricourt 75011 Paris FRANCE bricefontaine5@gmail.com +33 (0)6 95 90 51 52


INDEX

Design Adventures

PROFESSIONAL EXPERIENCE

EDUCATION

- Milan Design Week Report

- Optimism

- Mobile World Congress Report

- Textile print

- Maison&Objet January 2013

- Defining luxury

- Trend report of technologies until 2020

- Adhocism

- Visual Merchandising

- Senior Thesis “A reflection on fashion & technology”

- Journalism

- Biotherm Contest

- Denim Trend Report - Styling - Communication & Creative Direction - Studio Managing

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PROFESSIONAL EXPERIENCE


MILAN DESIGN WEEK 2013 REPORT

Design Adventures

NellyRodi / Excerpts from the report April 2013 Online Publishing

MILAN DESIGN WEEK 2013

Les zones d’expositions

>Ventura lambrate >Zona tortona >Le centre >Le salon

MILAN DESIGN WEEK 2013

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MILAN DESIGN WEEK 2013 REPORT

Design Adventures

MILAN DESIGN WEEK 2013

LES GRANDES TENDANCES > Les grandes marques ont plutôt jouées la carte de la sécurité avec peu d’innovations et jouant sur des valeurs sûres. > les marques d’électronique et automobile proposaient une vision du futur positive et ludique: parcours émotionnels et sensoriels. > Les bonnes surprises se trouvaient ailleurs chez les jeunes designers avec une dimension plus expérimentale. > L’ère des «Makers», ateliers artisanals, bidouilles et open source. Alchimistes et chimistes en blouse blanche. Explications des process de fabrication. > Nos repérages stylistiques et émergence des thèmes NellyRodi du cahier lifestyle 2014. (Renaiscience) Future Nature (Technewlogy) Neo Factory (Gypsters) On the Road Mutation & Fusion (Gypsters) -

Classic with a twist (Hipstoric)

MILAN DESIGN WEEK 2013

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MILAN DESIGN WEEK 2013 REPORT

Design Adventures

MILAN DESIGN WEEK 2013

NEO FACTORY PRODUITS LIGNES INSPIRÉES DE L’UNIVERS INDUSTRIEL. PATINES ET OXIDATIONS. BI MATIÈRES. CLOUS. VIS ET RIVETS EN FINITIONS.

© l ex pott

© r oland de mul

© l ex pott

© a lberto f abbian

© t om d ixon MILAN DESIGN WEEK 2013

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MILAN DESIGN WEEK 2013 REPORT

Design Adventures

MILAN DESIGN WEEK 2013

MUTATION & FUSION PRODUITS TRESSAGES ET CANNAGES EN FIBRE RECYCLÉES. RENCONTRE ÉTONNANTE ENTRE BAROQUE CLASSIQUE ET ESPRIT ETHNIQUE. PAMPILLES ET BAMBOUS. VIBRATIONS VISUELLES.

© s ebastian

© c ampana b rothers for b accarat

h erkner

© c ampana b rothers for b accarat MILAN DESIGN WEEK 2013

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MOBILE WORLD CONGRESS BARCELONA REPORT

Design Adventures

NellyRodi / Excerpts from the report March 2013 Online Publishing

NellyRodi Compte rendu sur le Barcelone Mobile World Congress 2013

Art de Vivre

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MOBILE WORLD CONGRESS BARCELONA REPORT

Design Adventures

MOBILE WORLD CONGRESS BARCELONA 2013

ACTION!

> Nomadisme & Mobilité Cette année le salon avait lieu dans un nouveau parc des expositions, une architecture futuriste et beaux espaces Un salon intéractif où l’on peut essayer chaque produits. Vivre des expériences au fur et à mesure de la visite.

MOBILE WORLD CONGRESS 2013

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MOBILE WORLD CONGRESS BARCELONA REPORT

Design Adventures

MOBILE WORLD CONGRESS BARCELONA 2013

LES GRANDES TENDANCES DU SALON > Le mobile est un élément récurrent dans notre vie. > Toute sa vie dans son téléphone portable. > Des smartphones de plus en plus performants qui permettent de tout piloter à distance. > Surveiller sa maison, mettre en route son électroménager, M-commerce... > Partager sa vie avec le plus grand nombre. > Toujours plus vite / Plus rapide. > Etre dans l’action.

MOBILE WORLD CONGRESS 2013

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MOBILE WORLD CONGRESS BARCELONA REPORT

NOMADISME & MOBILITÉ

Design Adventures

MOBILE WORLD CONGRESS BARCELONA 2013

DES MATIÈRES ET COMPOSANTS INNOVANTS, SYSTÈMES WATERPROOF PROTÉGEANT LES MOBILES DE TOUS LES ACCIDENTS, CHEZ SONY POUR LE XPERIA, CHEZ HUWAEÏ. BREVET D’UNE ENTREPRISE FRANçAISE WYSIPS QUI PERMET DE RECHARGET SON TÉLÉPHONE À L’ÉNERGIE SOLAIRE GRÂCE À UN FILM TRANSPARENT COMPOSÉ DE CELLULES PHOTOVOLTAÏQUES

© XX

MOBILE WORLD CONGRESS 2013

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MOBILE WORLD CONGRESS BARCELONA REPORT

SAMSUNG

Design Adventures

MOBILE WORLD CONGRESS BARCELONA 2013

PRODUITS DES LIGNES PURES ET ORGANIQUES, DOUCEUR ET RONDEUR. FOCUS SUR LA GAMME GALAXY (FAME, GRAND, EXPRESS, YOUNG...), MISE EN AVANT DU BLANC PURE POUR TOUTES LES GAMMES DE PRODUITS. QUELQUES SOMBRES, FAUX NOIR ET BLEU.

MOBILE WORLD CONGRESS 2013

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MAISON&OBJET 2013

Design Adventures

NellyRodi January 2013 Curation of trend forum within the Paris home design biannual fair

NellyRodi & the fair 

 

 

 



 

 

 

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MAISON&OBJET 2013

Design Adventures

            

   

    

     8

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MAISON&OBJET 2013

Design Adventures

 

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MAISON&OBJET 2013

Design Adventures

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MAISON&OBJET 2013

Design Adventures

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TREND REPORT ON EVOLUTION OF TECHNOLOGIES UNTIL 2020

Design Adventures

NellyRodi / Excerpts from the report March 2013 Trend Report

1980/1990/2000/2010, 2015... 2020

1

guideline of decades

fast attitudEs: multilifE/multiPass/multislash.

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TREND REPORT ON EVOLUTION OF TECHNOLOGIES UNTIL 2020

Design Adventures

2

www.mutations

2015.......................... 2020

THE 8 “W”. A REVOLUTIONARY ERA. A RENAISSANCE DRIVEN BY DIGITAL GENERATIONS AND CONNECTED POSSIBILITIES.

Web

Words

We

World

Weather

Woman

Work

Wow

The evolution of technologies for consumers from 2015 to 2020

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19


VISUAL MERCHANDISING

Design Adventures

Lanvin June 2011 Window Design Display

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Design Adventures

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VISUAL MERCHANDISING

Design Adventures

Lanvin / Excerpts from the report May 2011 Visual Merchandising report for international retail networks

Facings can be very useful for pieces where you want to emphasize on a detail and put it forward for the customers.

Grey Tones

Purple Tones

Dark Purple Tones

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VISUAL MERCHANDISING

Design Adventures

Black Tones

Old Rose Tones

This capsule is dedicated to the swimwear offer. As the previous one, you can use your capsules to create theme stories in order to push forward pieces according to the season or around a context. This is a very efficient method to increase sales.

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VISUAL MERCHANDISING

Design Adventures

Lanvin May 2011 Window Design Display

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VISUAL MERCHANDISING

Design Adventures

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VISUAL MERCHANDISING

Design Adventures

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VISUAL MERCHANDISING Lanvin / Excerpts from the report February 2011 Window display guidelines for retail network according to architectural plans

Design Adventures

ENTRANCE

Visual Merchandising

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VISUAL MERCHANDISING

Design Adventures

LEFT WINDOW

Visual Merchandising

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JOURNALISM

Design Adventures

The End Magazine ( rebranded Hunter Magazine) May 2010 Artcile writing 32* - ( PUBLISHING )

The New Cinema

Some people prefer to settle for clever instead of profound, or embrace vulgar and celebrate the mediocre. It is the beginning of a new generation. If we apply this new breed to the cinema industry, that will give you The New Cinema Magazine, launched in May 2010 during the Cannes Movie Festival. Jan Harlan, Paz de la Huerta, Peter Deming or Mariel Hemingway have all been recognized as being part of this movement that has strongly shaped the world of moving images. One by one, they share their ideal or experiences of working with the biggest of their generations such as Woody Allen or Stanley Kubrick. However, none of them could be defined as new to the cinema world, so why the New Cinema? The launch of this magazine is a gathering of film enthusiasts with an emphasis on independent and art-house film. In the times of the rise of the star system where the private life’s of actors drains the audience more than their abilities to act or direct makes us wonder if a true admiration for responsible film makers is still existing. Throughout the pages, the choice of cinematic icons drives us almost into a scripted story of visions. Some static images have driven the reader to come to the conclusion of the importance of photography and by the addition of movement can become sometimes a lively painting. The glossy cover of the magazine, where the mysterious blue eyes are not looking right at the reader might imply that just like a movie the reality of the content of any cinematographic elements might not be in front of the screen but possibly somewhere out of the picture. The New Cinema reminds us of which responsible protagonists of the cinema’s history has shaped the legendary movies such as Manhattan from Woody Allen starring Mariel Hemingway or even Jan Harlan on his movie Stanley Kubrick : A life in Pictures. After all, the new cinema magazine’s content might not be so new; nonetheless, it shares an unusual point of view towards cinema. As the first page of the magazine quotes Serge Daney in Cite-Journal “Bad cineastes have no idea, good cineastes have too many. But the great cineastes have just one idea”

text Brice Fontaine THE/END. MAGAZINE # 17

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DENIM TREND REPORT

Design Adventures

WGSN / Excerpts from the report September / October 2009 Denim street style report 







 

 



   







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DENIM TREND REPORT

Design Adventures









  

   



 





   



 



  

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STYLING

Design Adventures

Hussein Chalayan / Dolce Far Niente SS 2008 October 2009 Assistant to stylist Jodie Barnes

Photo Credits : Models.com

32


Communication and Creative Direction

Design Adventures

ES Orchestres February 2008 Press Release Writing + Design of sales book

2008 SPRING & SUMMER COLLECTION Cette saison, ES décide de jouer une nouvelle musique en devenant ES ORCHESTRES. Sadaharu Hoshino

choisit

de puiser dans le passé, dans ce qui est considéré comme formel

pour recréer une modernité et part du principe que toute innovation deviendra classique avec le temps. Le créateur revisite le concept de

l’ orchestre. Il compose sa collection en s’ inspirant du

vestiaire des musiciens et en réinterprétant les vestes de maestro. Les courbes sont soulignées par des passes poils. Les plis et les broderies rappellent les cordes des instruments et le noir et blanc fait référence aux touches de piano. Les finitions sont rythmées par des touches de piccolo. Le tailleur est ponctué d’ une nouvelle expressivité masculine.

Fidèle à la tradition de

ES ORCHESTRES, le vêtement est travaillé sur la base d’ un unique rectangle restructuré et drapé. La soie, la laine et le coton se confrontent

avec

le denim, la viscose et le modal. Ce souffle

de matières s’ accorde avec des notes de bleu, de blanc et de gris. Sadaharu Hoshino, en chef d’ orchestre, révèle un souffle, une émotion, une âme. Les vêtements se matérialisent et deviennent de vrais instruments.

2008 春夏コレクションより、ES は ES ORCHESTRES( エス・オーケストル ) と名称を変え、新たなクリエイションの 可能性に挑戦します。デザイナーの星野自身がイギリスで学んだテーラードとフランスで培ったクチュール技術を基に、 服作りの各分野のスペシャリスト達と共に、オーケストラのように調和のとれた美しい旋律を奏ではじめます。 E S O R C H E S T R E S と し て の は じ め て の コ レ ク シ ョ ン の テ ー マ は 、「 オ ー ケ ス ト ラ 」。 バイオリン、ピアノ、ピッコロなどの楽器のディテールや、オーケストラのユニフォームをモチーフに、 新たなフォルムをエレガントに表現します。 その服作りの根底にあるのは、ES が今まで目指してきていたマスキュリンでアンドロジナスな女性像。 クラシック、古典、音楽、フォーマル・・・これらをモダンにミニマルに再解釈した、 ES ORCHESTRES の新たな展開をご覧下さい。 <カラー・素材> 色はピアノや楽譜の白と黒の2色がメイン。差し色にベーシックカラーであるブルーとグレーを使用。 素材は、コットン、ウール、ビスコース、モダールなどのマットなものと、シルクやレザーを髣髴とさせる 光沢のあるものを組み合わせて、さまざまなニュアンスのモノトーンを表現。

Showroom From 1st October to 12th October 2007 M C 2 D i f f u s i o n / 4 1 Ru e d e S a i n t o n g e 7 5 0 0 3 Pa r i s T :+33 1 48 04 06 48 / E :mc2showroom@wanadoo.fr

collaborated with Hair & Make-up by Miyako Okamoto & Hirofumi Kera for SHISEIDO / Styling by Yoshi Miyamatsu for SIGNO Styling by Chiemi Tobe/ Music by Jaques Gandard/ Lighting by Moh Aroussi / Video by Hisashi Abe / Photo by Walter Boi P R < W o r l d w i d e > C R I S TO F O L I P R E S S / J o s i a n e C r i s t o f o l i T : + 3 3 1 4 4 8 4 4 9 4 9 / E : i n f o @ c r i s t o f o l i p r e s s . f r PR <Japan> PR2 / Meaux Etsuko T :+81 90 60 03 17 58 / E :presspr2@tbk.t-com.ne.jp

www.es-orchestres.com

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Communication and Creative Direction

Design Adventures

KNIT MOTIF WOOL: FS01

COMPOSITION: 92% WV 8% PA

COLOR: GR

VST001 MUFFLER VEST

DR001 HIGH COLLAR DRESS

STL003 STOLE COAT

PRICE:

PRICE:

DR005 ELLIPSE DRESS

PRICE:

COLOR:

COLOR:

PRICE:

TR004 3/4 TROUSERS

PRICE:

TR005 1/4 TROUSERS

PRICE:

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Communication and Creative Direction

Design Adventures

35


STUDIO MANAGING

Design Adventures

Alexander McQueen / La Dame en Bleu SS 2008 October 2007 Assistant to studio manager

Photo Credits : Vogue UK

Photo Credits : Vogue UK

36


EDUCATION


OPTIMISM

Design Adventures

Central Saint Martins Animated Patterns / June 2012

38


TEXTILE PRINT

Design Adventures

Central Saint Martins Textile print workshop / February 2012

39


DEFINING LUXURY

Design Adventures

Central Saint Martins Defining Luxury / December 2012 Short movie / Group project

40


Adhocism

Design Adventures

Central Saint Martins Adhocism / November 2012 Industrial Design and Design Research / Group project

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Adhocism

Design Adventures

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Adhocism

Design Adventures

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Adhocism

Design Adventures

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A Reflection on Fashion & Technology

Design Adventures

Parsons School of Design Senior Thesis / June 2010 Introduction

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hat kind of technology-driven fashion will your grandchildren’s grandchildren be walking around wearing? Will your family’s future offspring of the female persuasion be wearing spray-on dresses featuring unlimited style color coordinating options in the year 2030? Will her best friends have cellphone bracelets and will their boyfriends sport fashionable eyewear that also serve as live video monitors with access to every live sports and news television transmission on the planet – featuring instant audio translation services available for up to 66 languages? These projected advances may seem more science fiction than reality based, but be assured, seemingly outlandish concepts today may soon be as real and normal as the sun peeking up over the eastern landscape. This thesis will review and critique the most recent forward-looking fashion innovations – including several “wearable technologies” and “smart clothing” concepts. I also will offer analysis regarding the technologic realism of and the financial practicality of the projects currently on the drawing boards – and in the creative minds – of fashion engineers and designers. History of Fashion and Clothing Innovation Throughout history, the textile industry has attempted to develop a close relationship with science, albeit that relationship has been discreet in many instances. While humans had been sewing for as long as 20,000 years ago (archaeologists have found bone needles, apparently used to sew together skins and furs, dating back that far), the very first prototype sewing machine wasn’t invented until Thomas Saint1 did that in 1790 ( HYPERLINK “http://www.moah.org” www.moah.org). Saint’s invention helped launch the textile and fashion industry into an era of tremendous growth and production. And moreover, this technological advancement built a fire under the designers and fashion entrepreneurs and giving birth to a multitude of new ideas. The industry has experienced the possibility of not only seamless and mass production, but of great progress in the clothes marketing on a global scale. Meantime, in 1934, Italian fashion designer Elsa Schiaparelli entered into a collaborative arrangement with French textile manufacturer, Colcombet, to design and produce a “glass cape” using Rodophane material2. Two years later Schiaparelli presented her innovative collection – which used prints featuring thermometers as a way of reflecting the enthusiastic emotions of the public due to the arrival of the radio and the telegraph. Schiaparelli teamed up with avant guard artist Salvador Dali to shock the fashion world with surrealistic designs that included a “Lobster Dress” made of silk organza and horsehair (Philadelphia Museum of Art). Dali was said to be irritated when Schiaparelli would not allow him to “spread real mayonnaise on the finished gown” ( HYPERLINK “http://www.philamuseum. org” www.philamuseum.org). When nylon was invented in 1938 it was first used for bristles in toothbrushes but soon enough nylon was used in the production of fabrics (including its widely accepted use as women’s hosiery) and was lauded for its toughness and resistance to tears and shrinkage. In the 1960s and 1970s, fashion designers like Paco Rabanne, Andres Courreges, Pierre Cardin and Rudi Girnreich utilized nylon and polyester fabrics to great advantage financially and culturally. This created an element of glamour in

A Reflection on A Reflection & Technology onFashion Fashion Technolgy Brice Fontaine

By Brice Fontaine

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A Reflection on Fashion & Technology

their work that transcended typical clothing design.

Design Adventures

shows precipitation is in the offing? Will the top fashion moguls begin to understand that excentric and un-wearable outfits is an out-dated business model? Who will inform the world’s most wealthy and talented designers that ninety-nine point nine percent of the world’s population neither is ignorant to the high-toned clothing that Lady GaGa, Rihanna, and other sex-icons are wearing? Certainly there are no simple answers to those questions. It has been proven over and over again that fashion and technology can combine innovative energies to produce good things for consumers. But it seems those innovative energies have somehow been put on the back burner, or perhaps ignored. Fashion may in time be turned on its head and corporate profits will take a back seat, forced to puy clothing in their stores that the consumer can wear and use – and that actually offer usable and practical innovative components. This society certainly needs to pull back on its obsessive consumption, and fashion industry innovators can become part of the solution rather than continuing to be part of the problem. The high consumption cycle that makes us buy more than we will need eventually have to come to an end. Earth’s resources are not infinite and the garment industry is one of the main industries that is part of our environmental issues that the twenty first century is facing. New Ideas in Fashion Technology

Examples of Rodophane Hats

Tomorrow – The Future Blending of Fashion and Technology Among the most popular consumer concepts / phrases in the early 21st Century are “green”, “sustainability,” and “eco-friendly.” We live in tumultuous times indeed. We are told the glaciers are melting, the seas are rising, hurricanes and other natural world storms are becoming more violent and myriad animal species are endangered due to rising temperatures around the globe. But what about the human species? Will technology be personalized enough so that the clothing we wear will help us interact with our colleagues and/or help us adapt to our changing environment ? The challenge for designers is enormous as the years pass by and new generations become more and more dependent on technology. The marketplace for consumer purchases is no longer local or regional…it’s global. Will the fashion industry take a page out of the digital technology revolution and come up with ideas that make sense? Will there be an iPod-like innovation in the offing for Chakra, or Gucci? Will Chanel produce a practical coat that adjusts its outer fabric accordingly when the build in relative humidity indicator 4

When we talk about fashion technology we’re not just alluding to weird or geeky inventions that will make the fashion pages today and disappear tomorrow. To wit, the Web site Double Agent features an “all-in-one jacket” called “mp3blue.3” As one might imagine, this jacket contains a built-in mp3 player along with a hands-free Bluetooth mobile phone. The Double Agent site explains that this jacket relieves the consumer from “having to worry about that stuff falling out of your pockets” ( www. doubleagent.com). The German clothing company Rosner teamed with Infineon Technologies to design this jacket for the digital technology freak, obviously. The average person certainly doesn’t need an mp3 player built into a jacket. Meanwhile the jacket features a textile keyboard on the left sleeve, which works seamlessly thanks to “electrically conductive fabric sewn into the lining.” The mp3 player has 128 MB of memory and a rechargeable battery that works up to eight hours, according to Double Agent. The collar of the jacket provides the headphones and a microphone, so when the person wearing the jacket makes a phone call, “music automatically shuts off.” And the jacket comes with a “removable hood” so when that important phone call comes in (while the wearer is out on the golf course, for example) the hood can be pulled up to provide privacy. Price for this fashion technology piece? A nifty $725. Then there is the “Show Off T-Shirt” with a built-in “sounds sensitive graphic equalizer panel” ( www. bimbambanana.com)4. Made from 100% cotton, the front of the shirt lights up to the beat of the music, made lively by the presence of the equalizer. Of course a battery pack is tucked “discretely into a pocket inside the shirt,” and it is “great for concerts or parties” the marketing material explains. It remains to be seen if this can be called “smart” or “dumb” clothing. On a more serious plane, a thoughtful piece published in the International Journal of Clothing Science and Technology explains that the past few years have produced “…an increased interest in wearable technologies, smart fabrics and interactive garments” (Stylios, 2005)5. Professor George K. Stylios is the principal investigator for the Research Institute for Flexible Materials (RIFleX) in Heriot-Watt University (Selkirkshire, UK). Stylios explains that technological developments vis-à-vis these smart 5

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A Reflection on Fashion & Technology

fabrics and interactive garments are thanks in part to “sensor-based fabrics, micro devices, wire and wireless networks.” Stylios goes on to criticize the global fashion markets whose developments in recent years have resulted in “…glorifying garments as gimmicky gadgets.” That said, Stylios also points to some efforts on the part of the fashion industry to use technology to improve the quality of life for citizens, “even for life saving purposes” ,especially in the military, for healthcare purposes and firefighters. In order to develop prototype interactive garments that can monitor the “various functions of the wearer,” these vital research efforts will require the use of “…interdisciplinary technologies in fabrics, sensors and wireless computing.” The professor has recently been involved in a project with several objectives, all of which are planned as helpful monitoring products for healthcare and clinical purposes. Among the objectives sought by Stylios’ team are the following “smart clothing” goals: a) to develop “suitable wireless sensors” that will be implanted in fabrics and used to measure “ECG, temperature, breathing, skin conductivity, mobility and movement, humidity and positioning”; b) to innovate a “Personal Area Network and a Wireless Communication Centre”; c) to “optimize suitable wireless technologies” like Bluetooth that will enable communication between sensors on the clothing being worn and a “central processing unit”; d) to “conceptualize a smart multilayer fabric”; and e) to fully integrate technologies for use in smart clothing. Another research article in the International Journal of Clothing Science and Technology delves into a

Techno Outfits from 80’s movie Tron thorough overview of “smart textiles” (Tang, et al, 2005)6. The authors insist that the clothing industry can “potentially be revolutionized with the commercialization of the latest ‘smart’ textiles research,” just as certain advanced fibers, yarns and fabrics have been developed for use in the automotive industry, in space travel, civil engineering and the medical field. Tang emphasizes that “smart” in 6

Design Adventures

the sense of smart clothing actually means materials that can “sense and respond in a controlled or predicted manner to environmental stimuli” (Tang, p. 109). And those smart materials can be “delivered,” Tang goes on, “in mechanical, thermal, chemical, magnetic or other forms” (Tang, p. 109). This article was published in 2005 but since at that time some $300 million worth of intelligent textiles were being marketed annually, experts were predicting the global market for smart / intelligent technologies would grow to $720 million by 2008. With an annual growth rate of 36 percent these technologies are expected to become a booming industry (Tang, p. 109). Already the technology is being used in Adidas (and other) running shoes; to wit, the Adidas “1” running shoe has sensors, a microprocessor and a motor “to smartly adjust the level of cushioning” during walking and running exercises (p. 109). Finding the right materials to use in smart clothing (textiles) is a pivotal part of the innovative phase of discovery. For example, “shape memory alloys” (SMAs) are an important part of the future of smart textiles, Tang explains. When they are at lower temperatures, the structure of SMAs is altered and changes into “a martensite phase” during which they can be “easily deformed.” And when SMAs are heated up, they turn into an “austenite phase” and the pre-programmed shape is “recovered” because the SMAs “remember” their original shape. These dynamics are clearly very important when developing intelligent clothing garments (p. 110). Another shape memory material, “shape memory polymers” (SMPs), are considered more suitable for the clothing industry, Tang goes on. SMPs have “higher extensibility, superior processability, lower weight and a softer handle – and because of SMPs’ elasticity, the shape memory aspect makes them very appropriate for use in smart clothing. On page 113 of his scholarly research article Tang explains that “Smart sweaters that can absorb, store and release heat as required in order to keep the wearer at an optimum temperature” are now in the design phase and will shortly be “engineered for commercial purposes.” In conclusion, Tang believes that “the basic building blocks are already in place” in this emerging field of smart clothing / smart textiles. As science, engineering and the expert researchers in those fields move their products forward, and “as the gap between designers and scientists narrows, the area of smart clothing” is quite likely to “keep on expanding for the foreseeable future” (Tang, p. 124). The growth of smart clothing will occur in two “distinct” areas, Tang asserts. One will be “performancedriven smart clothing”; that includes “continuous monitoring smart garments for patient rehabilitation or military” applications (124). The second area involves “fashion-driven smart clothing” that emphasizes the aesthetic appeal (how good it looks and how popular these garments can become). However, before smart garments become household items as commonplace as dress shirts and T-shirts, the industry must give consideration to the aesthetic properties like the “handle, drape and comfort” of the fabric and of the garment. Moreover, the durability and weight – along with the ability to safely launder the garments – must be taken into consideration (Tang, p. 125). And along with those above-mentioned considerations, the cost of smart fabrics and smart clothing per se must be kept within reason for the fashion consumer. Also, the smart technologies being projected to be important – like solar cells and flexible sensor-equipped materials – must be created collaboratively between fashion industry people and scientists. If the next generation of sensible smart clothing items can be cooperatively and collaboratively produced, the industry has nowhere to go but up. On the subject of sensor technology, Emily Clark’s article in www.gizmag.com claims that fabric 7

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A Reflection on Fashion & Technology

Design Adventures

technology makers Eleksen Group are offering consumers the opportunity to “choose which gadget they want to control via their interactive clothing” (Clark, 2007)7. For those garment makers that wish to create clothing that is interactive, the new “eSystem” by Eleksen is an attempt to eliminate “some of the barriers to entering the market” of smart clothing. In other words, Eleksen asserts that the clothing manufacturer “does not need to manage any of the electronic processes” because Eleksen has the technological capability to develop, produce, license the interactive components for clothing – and will provide after sales customer support as well (Clark). Earlier versions of technology for clothing tended to be specifically for iPods or cell phones. An example of a smart garment that was launched using mobile phone devices is the Zegna Sport Bluetooth iJacket, which allows the wearer to listen to his or her iPod while simultaneously talking on a cell phone. And judging by the new smart clothing items being launched in the past few years – notwithstanding the fact that some are seemingly supercilious and not widely in demand by the average consumer – the marriage of fashion and technology is off to a very good start. Next, the major manufacturers of clothing need to step up and to the research necessary to produce pragmatic and sensible lines of smart clothing; and, importantly, as mentioned earlier in this paper, the practicality of these garments must be balanced with beautiful aesthetic and reasonable usage.

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BIOTHERM CONTEST

Design Adventures

Parsons School of Design Biotherm Contest / May 2009 Honorable Mention / AB EVE short movie

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Portfolio Brice Fontaine 2013  
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