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2024, The Business of Fashion
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A simple innovation still in use today likely allowed prehistoric humans to turn clothing into the complex social signals they are now, according to researchers. Interview with Marc Bain.
Aeon, 2021
Archaeologists and other scientists are beginning to unravel the story of our most intimate technology: clothing. They’re learning when and why our ancestors first started to wear clothes, and how their adoption was crucial to the evolutionary success of our ancestors when they faced climate change on a massive scale during the Pleistocene ice ages. These investigations have revealed a new twist to the story, assigning a much more prominent role to clothing than previously imagined. After the last ice age, global warming prompted people in many areas to change their clothes, from animal hides to textiles. This change in clothing material, I suspect, could be what triggered one of the greatest changes in the life of humanity. Not food but clothing led to the agricultural revolution.
The link between fashion and innovation is showed from the point of view of a fashion designer, who did research work on this theme in her doctoral thesis. The author demonstrates some of the results expressed in her practical work.
Journal of Media Research
This essay aims to look at how the phenomenon of contemporary fashion has evolved under the influence of technology and under the pressure of cost effectiveness; the essay will also be analyzing the courses of development that fashion has taken, as well as the occurrence of mutations throughout the logic of contemporary fashion. It is equally important to follow up on the impact that these transformations occurring throughout the universe of fashion may have in the contemporary society.
This paper analyses the contribution offered to the different domains of fashion design by technological innovation, and it focuses on the aesthetic and formal effects due to the adoption of high-techs in product solutions, on the trends induced by the pervasive adoption of new technologies, on the related transformation of needs and social behaviours. The technological solutions under exam include innovative fabrics, some wearable devices, and electronics based wearable products. Through the analysis of some emblematic garments and products available in the market, the authors highlight how the fashion world is not able yet to fully exploit the many possibilities offered by technological innovation, and some formal limits of the existing design approaches. Advanced technologies have not yet unleashed the creative skills and imagination of fashion designers; some style clichés seem to frame the industry and hinder the creation of new formal languages and products. On the other hand, technology driven design of wearable devices should improve its design skills about emotional and formal factors, inheriting some knowledge from the fashion experience so to create more effective and fascinating products. To this respect, the authors propose an introductory comparison between methodologies and tools that characterize the approaches to the project of products in the two domains: technology based and fashion oriented design. According to the authors, a comparative research about design approaches and methodologies can provide an acceleration in both industries, and support improvements with respect to users satisfaction.
This essay aims to look at how the phenomenon of contemporary fashion has evolved under the influence of technology and under the pressure of cost effectiveness; the essay will also be analyzing the courses of development that fashion has taken, as well as the occurrence of mutations throughout the logic of contemporary fashion. It is equally important to follow up on the impact that these transformations occurring throughout the universe of fashion may have in the contemporary society. This essay aims to look at how the phenomenon of contemporary fashion has evolved under the influence of technology and under the pressure of cost effectiveness ; the essay will also be analyzing the courses of development that fashion has taken, as well as the occurrence of mutations throughout the logic of contemporary fashion. It is equally important to follow up on the impact that these transformations occurring throughout the universe of fashion may have in the contemporary society. In conceptual terms, we need to define the fact that in the 21 st century fashion no longer refers to clothing trends and accessories, but to any sort of production of goods and services that have a business or cultural value. Nowadays, fashion is so important socially and economically that no other representative area of the human society, as we know it today, is able to exist without
Fabrication is all about making the world while making ourselves, our quintessential subject making.' 1 Meskell (Ed.), Lynn. Archaeologies of Materiality
International Journal of Fashion Studies, 2018
Working from the case study of Dutch designer Iris van Herpen, this article proposes a new-materialist framework for fashion studies. The ‘material turn’ has gained substantial recognition in social and cultural research over the past decades, but has received less attention in fashion studies. At the same time fashion hardly ever figures in scholarship on new materialism. This article connects the two fields, surveys the literature, foregrounds key concepts, and points to possible directions for fashion studies. The interdisciplinary field of new materialism highlights the role of non-human factors in the field of fashion, ranging from raw materials (cotton) to smart materials (solar cells) and from the textility of the garment to the tactility of the human body. New materialists work from a dynamic notion of life in which human bodies, fibres, fabrics, garments, and technologies are inextricably entangled. The context of new materialism is posthumanism, which entails both a decentring of the human subject and an understanding of things and nature as having agency. The key concept is thus material agency, involving a shift from human agency to the intelligent matter of the human body as well as the materiality of fabrics, clothes and technology. The insight of material agency is important for acknowledging the pivotal role of technology in fashion design today, allowing greater attention for the material aspects of high-performance fibres and smart fabrics. From a new-materialist perspective, Iris van Herpen’s designs can be understood as hybrid assemblages of fibres, materials, fabrics and skin that open up engaged and meaningful interconnections with the human body.
Cambridge Journal of Economics, 2010
Human technology is difficult to understand because it is so complex. However, human technology evolved from the simpler technologies of other species. Comparison with these other technologies should illuminate why human technology is distinct. Some birds and primates make tools, or simple technological objects whose function is closely related to their form. Humans, on the other hand, make machines-relatively complex objects whose functionality derives from the interaction of parts with respect to one another (e.g. a bow and arrow). Making machines requires a cognitive advance called 'second-order instrumentality', or the ability to invest in the production of an object that only has utility as part of, or for the making of, other objects. This ability enabled human societies to develop specialised forms of organised production, which in turn allowed the stock of artefacts to diversify and accumulate, whereas the technological repertoires of other species remain at a relatively constant level of complexity. several anonymous referees for very helpful comments on earlier drafts. Thanks also to Clive Lawson for the invitation to think about these issues in the first place.
In: Mode@MOTI: Design for Debate. Breda: Museum of the Image, 2013: 54-61.
This paper will consider tradition and innovation as the habitual partners respectively of luxury and fashion. Swopping these partnerships around, in the context of technology, generates a new conceptual way forward.
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