Arts | Special Issue : Textiles in Contemporary Art and Fashion: Designing between Technologies and Aesthetics

Research

11 pages, 1233 KiB

Open AccessArticle

Smart Experience in Fashion Design: A Speculative Analysis of Smart Material Systems Applications

by Marinella Ferrara

Arts 2019, 8(1), 4; https://doi.org/10.3390/arts8010004 - 29 Dec 2018

Cited by 6 | Viewed by 4216

During the last decade, smart materials and systems have increasingly impacted several niches, including ‘one-off/limited edition experimental fashion’. As the traditional boundaries between what is art and what was not supposed to be art are now turning into osmotic membranes, we will speculatively [...] Read more.

During the last decade, smart materials and systems have increasingly impacted several niches, including ‘one-off/limited edition experimental fashion’. As the traditional boundaries between what is art and what was not supposed to be art are now turning into osmotic membranes, we will speculatively focus on how ‘smart material systems’ are highly contributing to outline a new creative landscape full of interesting and compelling issues. Introducing three different sub-niches of experimental fashion—multi-sensory dresses, empathic dresses, and bio-smart dresses—this article outlines the emergence of a new smart design scenario. Then, we critically discuss some of the implications of the developing research in terms of design thinking and design aesthetics. This paper aims to contribute to the topic of next design scenario, demonstrating how design research is increasingly affecting the extension of human perception, emotions, and the concept of ‘almost-living’ entities, projecting towards the redefinition of relationships with materials and objects. Full article

(This article belongs to the Special Issue Textiles in Contemporary Art and Fashion: Designing between Technologies and Aesthetics)

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10 pages, 2002 KiB

Open AccessArticle

Transforming Fashion Expression through Textile Thinking

by Maarit Salolainen, Anna-Mari Leppisaari and Kirsi Niinimäki

Arts 2019, 8(1), 3; https://doi.org/10.3390/arts8010003 - 24 Dec 2018

Cited by 5 | Viewed by 5232

Abstract

The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Espoo, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements [...] Read more.

The focus of this research is on the experiences of a new fashion pedagogy linked to textile studios at Aalto University, School of Arts, Design and Architecture, in Espoo, Finland. Rich practice-based research and skilled use of materials and textile techniques are elements of transforming fashion design implemented through studio-based pedagogy. Effective learning is constructed by adding tacit and haptic knowledge of textiles into fashion expression. Furthermore, while textile design combines elements from aesthetic creativity with technical skills, this knowledge, textile thinking, can form a new grounding for fashion design. Through reflective learning, practically oriented and theoretical knowledge can be combined, and hands-on studio pedagogy has established the platform for this type of learning. Fashion students’ textile studies extend to woven fabrics and jacquards as well as knits, embroideries, prints, and other finishing techniques and aim to teach them about industrial manufacturing and provide them with an understanding of industrial processes and requirements. This research observes this transformation process of fashion expression through textile thinking based on observations, teachers’ reflections, and student interviews. Further, the learning outcomes have been reflected against the transformation of the curriculum to provide understanding for this development process. Full article

(This article belongs to the Special Issue Textiles in Contemporary Art and Fashion: Designing between Technologies and Aesthetics)

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14 pages, 13707 KiB

Open AccessArticle

Fides Testi’s Use of the Airbrush in Italian Art Textiles in the 1930s

by Lucia Mannini

Arts 2018, 7(4), 96; https://doi.org/10.3390/arts7040096 - 30 Nov 2018

Viewed by 5167

Abstract

The Modernist aesthetic, which spread all over Europe and in the United States in the 1920s and 1930s, found the airbrush decorating technique to be the ideal instrument for expressing the requirements for an extreme synthesis of form. This was considered an essential [...] Read more.

The Modernist aesthetic, which spread all over Europe and in the United States in the 1920s and 1930s, found the airbrush decorating technique to be the ideal instrument for expressing the requirements for an extreme synthesis of form. This was considered an essential element of the style, thanks to the areas of uniform color that shaded lighter tones inside basic, often geometric, shapes. The airbrush was used in that period mainly for graphics and for decorating ceramics, but it was also employed in other fields such as textile design. In Italy, the airbrush technique became popular in various artistic sectors including textiles, both for mass production and in the creation of single artistic pieces and in this latter field, Fides Testi was a leading figure. Full article

(This article belongs to the Special Issue Textiles in Contemporary Art and Fashion: Designing between Technologies and Aesthetics)

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