Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
In this study a new method was developed for wearable art, against historical and cultural alieanation which humanity is going through. In this approach, designer identifies a theme as a starting point with collecting all research and writes a story for the concept. The example of this methodology is a " Journey of a Woman ". The story had been written containing cultural and historical images and was enhanced with literature research. Colors, technics, forms, shapes and textures were formed according to the story. In order to transfer all ideas and research in the most potential way, many different textile applications were used. The main idea of this research is to underline the importance of the stories and artistical meaning of cultures in costume design. This study is expected to bring a new methodology and a new aspect to designers.
The approach to fashion design and system build around it must be faced in cross-sectional way; to work on fashion doesn’t mean develop a dresses collection but it refers to the analysis of design processes that generate the project intention. The paper focuses on the territorial dimension of the project, which is meant to be a resource for the development and support of local economies, helping them to increase the value of their cultural identity and their design process as well as production’s know how. Considering such observations, we can identify a new trend aiming to recover settled in time values, through the strong relationship that connects an individual to a community and manual arts to history and local identity.
This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.
In book: Reverse Design, September
The Minho traditional costume as cultural heritage in fashion design2018 •
For this research we propose an analysis of traditional national costumes, in the sense of perceiving the connection with cultural value in an anthropological and historical approach. The Minho's traditional costume emerges as a reference of the local communities, of the region, with its own identity of valorisation and conservation, of the history, experiences and memories of its people. The concept of cultural heritage is increasingly widespread in the area of fashion, in the sense that it presents itself as a singular characteristic of a textile product, between communities and nations, in a trickle-up pattern. In order to understand the different scientific approaches of the interrelationship between fashion and tradition culture we have analysed some cases of designers who recreate the costume as a characterizing and diffusing element of culture, history and identity in a new vision about fashion design. Thus, we realize that concepts such as intelligent fashion design allows us to create a cooperation between traditional and recreated products, in order to promote the bridge with the Minho costume, enhancing it.
International Journal of Management and Applied Science
DEVELOPING MODEL FOR THE USAGE OF CULTURAL ELEMENTS IN TEXTILE AND FASHION DESIGN: A CASE STUDY ON IDOLS OF ANATOLIAN CIVILIZATIONS2019 •
In 21 st century, where visual elements become very important, fabric and clothing designs are used as an important tool for carrying cultural heritage to the next generations. On the other hand, today's consumption culture forces designers to have a wider approach for inspiration. At this point, tangible or intangible local cultural elements are important sources that can meet this need. With this respect, in this study, which is aimed to create a collection development process model for designers as well as promoting and carrying the cultural heritage, idols belong to Anatolian civilizations from early bronze age are used as a source of inspiration. Capsule fabric and garment collections have been prepared by using this new process model, based on culture oriented design aspect, in the direction of contemporary and universal design approaches. As a result, it was ensured that the cultural items can be used as a design element and it is concluded that designing a product with local features in order to emphasize its cultural value has become a critical issue in the textile and fashion design process.
The topic of this paper is the research of the interpolation of elements of traditional wear into collections by contemporary Croatian fashion designers. In the era of globalisation, despite the announced egalitarianisation, the need for highlighting national identity and preserving cultural heritage is still present. The cult of difference and novelty in hyper-production, as well as the flirtatious and fluid relationship towards the surface of the body as the territory for inscribing signs of identity, is very apparent in expressing one's affiliation to a certain social group by means of clothing. Clothes can signify, communicate, semiotically claim and position itself towards the system of objects that enshrine and follow the body, while at the same time having no impact on fashion as change, nor as system of luxury and high craft, often associated with it. By analysing the practices of contemporary Croatian fashion designers, especially those who include elements of traditional wear, I will try to show precisely this type of representation of traditional wear that, using fashion shows and exhibitions, becomes the representation image of the identity, with the purpose of creating a cultural-tourist product. This phenomenon is particularly present in the era of globalization. The need for expressing national identity becomes even more visible in the 21st century both at the fashion and at the political scene. Designing a clothing product that presents a certain nation through its traditional cultural heritage with the purpose of promoting the identity of a nation is a crucial determinant of cultural tourism.
Procedia Manufacturing
Fashion Design: The Project of the Intangible2015 •
This study is part of the surveys conducted in the doctoral research about the methodological tools of fashion design, which focuses in the techniques and methods for the elaboration of visual support of the semantic aspects of clothing products in the educational context. In assessing the design process in this field, it was analyzed the interaction system between the fashion clothing product and its users. An exploratory research was conducted, including literature review and documentary analysis, through which we identified the main requirements of interaction between product and user. The criteria identified as essential for examining the body-artifact-environmental system are distributed in projective parameters of physical adaptation, expression and representation. For these reasons, this article aims to relate concepts drawn from theories of human factors, hedonomics, communication and emotional design, to demonstrate then that fashion clothing is a dynamic and interactive space that mediates the relationship with the environment. Therefore, this text addresses clothing as an amplified interactive space, envisioning exchanges that perform with the body, the surrounding space (physical and cultural) and time. By associating the literature and the documentary analysis of academic practices, it was possible to highlight the key indicators to understand the attributes that guide the development of wearable interfaces. Among these attributes, the communicative potential receives greater emphasis, as these artifacts are converted into individual vehicles of expression and collective identification, becoming instruments of symbolic constructions and mobile records of the space-time relations incorporated in the material culture. The results reinforces the hypothesis of a methodological approach to fashion design in which the visual thinking and systemic reasoning is valued, in order to integrate the socio-cultural codes to the usability requirements of the products, allowing the aesthetic-symbolic factors to create identification links and build the affective experience.
Fashion Practice: The Journal of Design, Creative Process & the Fashion
Basic Research in Art: Foundational Problems in Fashion Design Explored through the Art Itself2014 •
Iris Publishers LLC
Cultural Work Instruments in Fashion Technology - Practical Method of Generating Emotional Design2018 •
Clothing fashion technologies, from yarn to clothing, are some of the oldest cultural technologies of humanity, integrated into both the public and domestic space of life [1]. The artistic and cultural imaginary, predominantly feminine, has found an ideal place of expression, because the tradition of social and cultural praxis has a millenary individuality and continuity [2]. In the 21st century, in a context of globalization of economies and technologies, cultural technologies strike a discordant note because they work based on cultural icons, and specific societal imaginary [3]. In this field, Technical engineering, informatic (logic-mathematical) and cultural (cognitive-emotional) languages need to find a common denominator to respond to the complexity of consumers’ demands for modern products. Interdisciplinary approaches should not remain only at academic or technological level, transdisciplinary may be a holistic key to the success of some disciplines, in the context in which co-creation and collaborative design are nowadays common in leadership and user-oriented creation. Emotional design and art science have become increasingly attractive research directions in many interdisciplinary art programs that rely on the many novelties of science and technology, as well as the research of metaphor or visual semiotics. This is the academic world, but the reality of creative and cultural industries is much closer to crafts and a digital world that is used only as commercial support or product development. The article presents the laboratory verification, together with students, of a method of generating the emotional, practical design of product creation by using a mix of cultural instruments, a method substantiated by the main author of this article. The purpose of this practical method is to make creative individuals aware of the importance of cultural work instruments in fashion technologies.
Journal of Textile Science and Technology
Inspiration and Innovative Approach in Creating Textile Designs and Prints from Sekondi-Takoradi’s Masquerade Costume DesignsRevista Latino-Americana de …
Representações sociais sobre a alimentação por sonda obtidas de pacientes adultos hospitalizadosAdvanced Photonics 2018 (BGPP, IPR, NP, NOMA, Sensors, Networks, SPPCom, SOF)
Towards multiband optical systems2018 •
2018 Annual American Control Conference (ACC)
Online Feedforward/Feedback Structure Adaptation for Heterogeneous CACC Strings2018 •
Chasqui. Revista Latinoamericana de Comunicación
Batallas desde la cultura por la cultura2012 •
Comunicação & Inovação
A recepção da ficção televisiva como espaço de significação e constituição de identidades: nos limites entre o real e o ficcional2012 •
Physics Letters B
Five-dimensional N=4, SU(2)×U(1) gauged supergravity from type IIB2000 •
2019 •
Procedia - Social and Behavioral Sciences
Transformation of Teaching and Learning Mathematics in English: Are the Lecturers Ready?2012 •
2009 IEEE Information Theory Workshop
Finite-state wiretap channels: Secrecy under memory constraints2009 •
SCIRES-IT : SCIentific RESearch and Information Technology
BIM-based Modeling and Data Enrichment of Classical Architectural Buildings2012 •
Molecular Genetics and Metabolism Reports
Placental pathology in an unsuspected case of mucolipidosis type II with secondary hyperparathyroidism in a premature infant2021 •
2019 •
Journal of Hydrology
A review of the use of radiocarbon to estimate groundwater residence times in semi-arid and arid areas2020 •
2023 •
2017 •