文献信息：
文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变）
国外作者：Galina Mihaleva，C.Koh
文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451
字数统计：英文2079单词，11462字符；中文3549汉字
外文文献：
design翻译Evolution of Fashion Design in the Era of High-Tech Culture
Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design
examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine.
Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION
It is common knowledge that the environment we live in greatly influences the style of clothing that people wear. And, it is not just referring to the physical-geographical or climatic environment but rather the less tangible aspects of the socio-cultural environment which is related to the time period we live in as well as the prevalent culture at the time. As much as clothing is a practical necessity, it is also an expression of identity and a reflection of culture.
In the current high-tech culture we live in, there is a trend of using computers, automation, and other technology driven methods to compliment many fields, fashion design is no exception. Designers no
w immerse themselves in the age of smart textiles and incorporate modern technology with fashion design and production. The used of sensors, conductive fibers and other smart fabric technologies like 3d printing, brings a whole new dimension to fashion design in terms of functionality, expression and interaction. The design focus is also shifted to more active issues of personal identity, social behavior, and intuitive interactions.
Fueled by society’s eagerness for efficiency, the fashion industry is on the verge of a revolution. The boom of technological advancements prominently redefines the role of fashion designers, their approaches to design and functionality of fashion. This ultimately transforms the conventional design process.
TRENDS AND METHODOLOGIES
Traditionally, clothing is a means of fulfilling basic needs such as protection from the elements, comfort, camouflage, and even socially accepted modesty as well as a medium for symbolic, artistic or religious expression.
Early concepts and constructs of “smart clothing”was very far from the current ideals of “smart clothing”, attempts to make wearable technology in the 1970s were more inclined towards simply usi
ng clothing as a support for electronic attachments and had very little to do with fashion. However, this changed when a different approach was used; resulting in the smart fashion we have now. Aesthetics and function are sometimes thought as independent of each other or even antagonistic, there may be misconception that aesthetics is less important than practicality. What is
often neglected is that these two concepts are interrelated and have a symbiotic relationship. Fashion is linked with design, and design aims to fulfil needs of the consumer whether it is aesthetic or functional. Thus when a designer engages in effective fashion design and undergoes the process of satisfying certain variables, it is fundamentally the same process that sates functionality. Consequently, by working with fashion as the starting point and integrating technology simultaneously while pursuing it as a distinct hybrid topic of wearable technology; it helps in creating a more effective outcome. Thus, with the advent of smart garments and wearable technology, clothing is rapidly transformed into an interactive interface between wearer, garment, and environment. The development of clothing as technological interface is highly influenced by the development of technology as fashion designers are drawn by the expanded possibilities of high-tech wearables.
The human body is itself a biological receptor interface, it has been mentioned that clothing and fashi
on has an intimate relationship with the human body in both physical and social aspects. With smart garments, fashion becomes an additional interface and results in a cyclic interaction between body, clothing and environment. Take for instance the research project Smart Second Skin (2004) by Jenny Tillotson and Adeline Andre which comprises of a scent delivery system that is programmed to respond to the wearer’s emotions and dispenses olfactory stimulus for aromatherapy to alter the wearer’s mood. This is an example of a complex feedback design. Firstly, the wearer’s mood changes, possibly reacting to a conscious or subconscious stimuli in the environment, this emotional response becomes an input that triggers the sensors and produces an output, in this case, it is the dispensed aromatherapy which in turn brings the wearer’s emotions back to a desired state as a feedback. The body, environment and clothing interacts accordingly, this interaction is modulated by what is being programmed into the technology involved.
While textile can turn into a technological interface, some designers are soon inspired to look at material fabrication technology itself. The exploration of such possibilities spurred the need for interdisciplinary approaches. Designers become more than artists, they turn into engineers, programmers, chemists, and even
biologists. Micro’be’ Fermented Fashion is a project where organic fabric is “grown” with the bacteria
through the process of bacterial wine fermentation. The cultivated fabric formed from cellulose micro fibrils is biodegradable and can be used to make seamless garments. Its advantages of being environmentally friendly and a lower cost fabric production in the wake of rising petroleum costs for synthetic fabrics only came to be when the artist vision extended across into the biological fields. This can only serve to prove the benefits of hybridizing interdisciplinary methodologies. In addition, there is another implication of cultural influence, high-tech culture is characterized by the drive for efficiency, the need to improve current conditions, and the use of highly scientifically advanced methods (e.g automations, Bio-culture etc.) to achieve these improvements. In recent years, society starts to realize the impact of finite resources, thus leading to a trend of conservation awareness that inspires projects like Micro’be’ Fermented Fashion. The attention to environmental concerns lets life sciences become a popular theme in technology related fashion, where ideas for cultivating textile in labs came up.
The definition of textiles is constantly being challenged; designers now not only look at textile with technology but also the technology of textile production. A notable fabrication tool is 3d printing, which has made a significant impact on the fashion industry. It is garnering a lot of interest, or at the very least, the prospects of it is favorable, evident by the fairly well received 3d printing competition h
eld at the Singapore Nanyang Technological University. 3d printing was initially seen as a very useful tool for product design and medical support purposes until fashion designers like Iris Van Herpen discovered its potential in architectural fashion. Van Herpen won critical acclaim for her intricate 3d printed dresses, her success sparked the growing trend of 3d printed fashion, and be it dresses, jewelry, or shoes, 3d printing is becoming a popular tool for fashion designers, and it is now easily accessible with the availability of affordable desktop 3d printers. Even within the fields of 3d fashion, there are a variety of crafting methodologies; form, material, texture and colour can all be conveniently manipulated.
While designers embraced the technology of material fabrication, traditional
fashion design processes and sensibilities are gradually being amalgamated with high-tech methods to produce brand new crafting methodology, hence the design process is inevitably altered to accommodate for it. This brings one to the topic of Computer Aided Design (CAD). For 3d printing, CAD is needed to create a 3d model for printing. Patterns were used to produce clothes industrially since the invention of the sewing machine in 1830, with the use of CAD, designers create their designs on the computer instead of drawing it on paper. CAD and 3d printing either bypasses or changes many of the conventional process of tailoring. Furthermore, computers can be utilized in ma
ny ways to create textile designs, for instance, coding can produce interesting computer generated patterns. Certain innovative techniques involve taking advantage of transitional design effects arising from translation of the physical to digital with technology such as scanning. Japanese textile company Nuno is renowned for combining tradition and technology to produce beautiful woven fabrics. Woven structure pattern 1984 is a fabric designed by Nuno founder Jun’ichi Arai by repeatedly photocopying an African kente cloth until it becomes pixelated; it is then scanned and woven on a computer driven Jacquard loom.
A more straightforward use of computers is to produce the design directly with illustration software or drawn by hand and scanned in before printing digitally on cloth. Alternatively, vector designs can be sent to laser cutters to cut out shapes in various materials. This method was used to create the cut felt in the “Text-ile Landscape memories”dresses. Laser cutting is a fast and convenient method to produce planar designs. It is able to perform sophisticated cuts on several types of materials whether it’s metal, plastic, wood, felt or paper. The setting just needs to be adjusted according to suit the material. Such automations save time for designers so that more time could be allocated to the creative aspects of the designing. These are all instances of how the technology alters the crafting methods in fashion, as previously mentioned, the type of technology influences the type of fashion. I
n “Text-ile Landscape”the planar felt material is laser cut and then manipulated to adapt a three-dimensional form. The precise nature of laser cutters and 3d printers inspire a more architectural take on fashion. It can be said that technology inspires a
more geometric, clean-cut, “futuristic”style.
The accessibility and advancement of technology changes the playing field of the fashion industry. Traditional tailoring requires a significant amount of time when measuring clients for a perfect custom fit, but a 3d scanner is able to quickly obtain accurate three dimension measurements within seconds. A recent service known utilizes body scanners to allow customers to match their sizes to outfits purchased online based on sizing information from registered fashion companies. Imagine if the 3d scanners are combined with 3d printing of garment, perfectly fitting customized clothing could be efficiently and rapidly produced; this would drastically reshape the manufacturing process in fashion design.
THE OBSERVED PATTERN
Throughout all the examples, it should be noted that there is a pattern. Firstly, there are constant improvements in technology and designers tend to make full use of these tools for their designs, sub
sequently affecting their design concepts. Secondly, hybridization is rampant in wearable technology. Fashion is a complex and established long standing industry, hybridization is almost unavoidable in order to integrate advanced technology into a field with such a long history. This gives rise to new or combinational crafting or design techniques.
There is a correlation between wearable technology designs and the concepts they tend to express. The input and output principles is by virtue of the systemic nature of technology. It is therefore naturally geared toward issues pertaining to interactions, social or otherwise. And since fashion is basically an adornment of the human body, expression of identity and perceived culture becomes a common and favored theme.
The rise in wearable technology can be said to be a reflection of our current culture. Availability of specialized kits like Lilypad kits is indicative of the market for wearable technology. It is likewise proof of the codependence and co-influencing between technological advancement and design aspirations of fashion designers. Technology fuels inspiration, and aspirations spurs development.

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