Fashioning 'Clothtech': Bridging the gap between Fashion and Science to Craft Future Fashion in 'Assistive Clothing' for 'Hidden Disabilities'
Lead Research Organisation:
Nottingham Trent University
Department Name: Graduate School
Abstract
Area of Interest
The field of interest for the PhD proposal is research in to incorporating the fashionable element in 'assistive clothing' in a rehabilitative engineering context by applying textile engineering and scientific principles to benefit persons with 'hidden disabilities' (medical conditions). The proposal enquires in to the reasons as to why there is a lack of fashionable 'clothtech' aimed at supporting a sufferer's daily well-being.
Textiles are going through a new evolution, integrating electrical systems and electronic
devices - which done properly, will introduce intelligence to materials for the first time.
Prof Tilak 2016 (online).
SMART/Technical textiles are quickly finding their place in 'interactive clothing'. This opens up possibilities for the evolution of assistive clothing, improving quality of life and health of the wearer. However, Fashion and Research are worlds apart, each moving at their own pace, with contradictory concerns, Dr Zimmermann 2016, P16. Prof Tilak further explains the three factors that challenge the engineering and designing of SMART garments: - cost, making sensors unnoticeable and producing enough power required for the electronics. In my view, there is a fourth, the desirability to wear a garment. The success of the MA project relied heavily on equalising the fashion element to the performance of the fabric. There was evidence in analysing the medical support garments from the MA research, that there was one principle somewhat misplaced during the design development, desirability. Colour, style, texture and shape are all components essential in developing an emotional connection between the garment/fabric and the wearer/body. Many of us are obliged to wear a garment to support our physical health out of necessity; some choose not to as these garments can be visually distracting, obvious and unappealing.
De Couvreura and Goossensb: 2011, argued that due to the rarity of niche markets, specific assistive devices are limited in their diversity and variations, resulting in lack of aesthetic beauty. They go on to say that, scientists and technicians focus on solving the problem that Innovation within these fields is mainly technologically driven; it lacks the tools to address social complexity and emotional responses. In Fibre2Fashion, Mc Murray states, possessing a degree in science is not pre requisite to being a good designer. Without the engagement of designers, craft and the understanding of a person's desire of expression of identity through dress, technology created in a laboratory may be slow to filter in to a person's daily wardrobe. At the same time, designers without technology and science cannot further their creative process. Fashion, science, technology and artisanship should work hand in hand. Where science has a more pragmatic approach, fashion cannot exist without the notions of fantasy, forming a natural dynamic working relationship between the two could enhance both innovation and forward thinking in design. It is this gap; this absence of an organic relationship between these disciplines, which I experienced during my MA studies, stifles the full exploration for the potential of assistive clothing/technology to filter in to the fashion market.
The field of interest for the PhD proposal is research in to incorporating the fashionable element in 'assistive clothing' in a rehabilitative engineering context by applying textile engineering and scientific principles to benefit persons with 'hidden disabilities' (medical conditions). The proposal enquires in to the reasons as to why there is a lack of fashionable 'clothtech' aimed at supporting a sufferer's daily well-being.
Textiles are going through a new evolution, integrating electrical systems and electronic
devices - which done properly, will introduce intelligence to materials for the first time.
Prof Tilak 2016 (online).
SMART/Technical textiles are quickly finding their place in 'interactive clothing'. This opens up possibilities for the evolution of assistive clothing, improving quality of life and health of the wearer. However, Fashion and Research are worlds apart, each moving at their own pace, with contradictory concerns, Dr Zimmermann 2016, P16. Prof Tilak further explains the three factors that challenge the engineering and designing of SMART garments: - cost, making sensors unnoticeable and producing enough power required for the electronics. In my view, there is a fourth, the desirability to wear a garment. The success of the MA project relied heavily on equalising the fashion element to the performance of the fabric. There was evidence in analysing the medical support garments from the MA research, that there was one principle somewhat misplaced during the design development, desirability. Colour, style, texture and shape are all components essential in developing an emotional connection between the garment/fabric and the wearer/body. Many of us are obliged to wear a garment to support our physical health out of necessity; some choose not to as these garments can be visually distracting, obvious and unappealing.
De Couvreura and Goossensb: 2011, argued that due to the rarity of niche markets, specific assistive devices are limited in their diversity and variations, resulting in lack of aesthetic beauty. They go on to say that, scientists and technicians focus on solving the problem that Innovation within these fields is mainly technologically driven; it lacks the tools to address social complexity and emotional responses. In Fibre2Fashion, Mc Murray states, possessing a degree in science is not pre requisite to being a good designer. Without the engagement of designers, craft and the understanding of a person's desire of expression of identity through dress, technology created in a laboratory may be slow to filter in to a person's daily wardrobe. At the same time, designers without technology and science cannot further their creative process. Fashion, science, technology and artisanship should work hand in hand. Where science has a more pragmatic approach, fashion cannot exist without the notions of fantasy, forming a natural dynamic working relationship between the two could enhance both innovation and forward thinking in design. It is this gap; this absence of an organic relationship between these disciplines, which I experienced during my MA studies, stifles the full exploration for the potential of assistive clothing/technology to filter in to the fashion market.
Organisations
People |
ORCID iD |
| Tom Fisher (Primary Supervisor) | |
| Lisa Shawgi (Student) |