Technology online by Aimee Jessica Robinson

Technology: Freedom of Creation Aimee Robinson N0301924 - FASH30001 Word Count Excluding Quotes: 8253 Word Count Including Quotes: 9404

Contents Where Does Our Future Lie?

3-4

Le Avant- Garde

43-54

Methodology

5-10

Conclusion

55-56

The Digital Revolution

11-18

Tomorrows Wardrobe

57-67

The New Camoflage

19-22

Appendix

68-136

Prime of Innovation

23-29

List of Illustrations

137-139

The Extremists

30-35

List of References

140-144

Textiles Frontier

36-42

Bibliography

145-152

Fig.1

â&#x20AC;&#x153;Welcome to the new reality: The Intersection of Science & Design. Science, which was once reserved for only scientist and technologists, can offer a fascinating visual world and resources to inspire products and everyday lifestylesâ&#x20AC;? Lauran Kaufman WGSN (Kaufman, 2012: online)

Where Does Our Future Lie?

“It’s not too far... to see wearable computers as a new step in our evolution as a species. The organisation of life has been defined by communications. It was a big advance for molecules to work together to form cells, for cells to work together to form animals, for animals to work together to form families, and for families to work together to form communities. Each of these steps, clearly part of the evolution of life, conferred important benefits that were of value to the species. Moving computing into clothing opens a new era in how we interact with each other, the defining characteristic of what it means to be human” Neil Gershenfeld, 1999

mapping the development of future designs within the fashion industry. This research report outlines some of the key movements that could shape the industries future. Future fashions will reflect the participatory, networked societies in which we live today, with online social networks, blogs and GPS- enable forums making it possible to share experiences online. Fashion has yet to play a significant role in this cultural shift, although interactive technology and communications devices have been present in mobile devices and built in structures for some time (Such as sportswear and combat uniform), few fashion brands have integrated into their products. Collaborations between the fields of fashion, design, science and technology are heading to create a future that has already been envisioned in movies and science fiction stories. Are these fictional realms rapidly becoming a reality in our modern time?

n the eye of an ordinary person, microelectronic circuits, conductive threads, e textiles sounds like the trademark of a scientist, however in the hands of a designer, technology is just raw materials for some of the most avant-garde garments produced today. The interest in this brief came from a personal, long standing fascination with conceptual fashion designers who have previously used technology incorporation within their designs. This research report aims to address the technological advancements that are omnipresent, within different sectors of the markets, including artists; and how could a brand within the luxury sector of the fashion market take on this trend. This is currently a pivotal moment in the evolution of fashion, in which garments are becoming sensory enough to gauge the wearer’s needs and respond accordingly. According to research and analytics firm HIS (leader in the information industry) demand for wearable, wireless devices will grow from 14 million gadgets this year to nearly 200 million in 2016 (Jolly, 2013: online). A new technological landscape is emerging,

Where Does Our Future Lie?

Fig.2

Methodology

Primary Research

rom early on this report will need to feature the opinions of peoples whose lives are immersed in the fashion industry. Due to the topic being such a futuristic matter it would not be able to be backed up through consumers input. As Noel Gallagher once said: “Let’s put it in this way, if a fashion house is a record label right? Like Dior or all those big fashion houses, do you think fashion would stay the same if they asked the consumers what they wanted to wear next summer? Why fashion always moves forward and we all look different and have different haircuts and we’re all different, because fashion doesn’t focus group it to it’s f*****g customers. F**k the customer. The customer doesn’t know what he wants. We f*****g give it to him and he likes it. Customers are idiots, 99% of them are.” (Gallagher, 2012).

Secondary Research

It is vital that arguments are backed up by credible sources, a small cross section of industry professionals have been interviewed: - Mary Corcoran winning knitwear designer for the year 1995. - Sarah Kettley, jewellery designer and expert in interaction design and wearable technology, currently a senior lecturer at Nottingham Trent University - Nina Faresin, trend forecaster with experience working as a designer manager and currently working at Designer Forum a centre of resources for creative professionals in Nottingham. - Designer Manel Torres who is the founder of ‘FabriCan’.

where their LSN Global team presented and explored the new macrotrends that are set to our social, cultural and commercial lives gave insight into future trends. Similarly lectures were attended by speakers including Mike Starbuck, who explored the development of smart textiles and also with Chief Creative Officer of Burberry, Christopher Bailey, where explanation was given on how they are at the forefront of the market through using technology.

Because of the increase of interest in technology within our everyday lives, it’s not surprising, that there have been many articles and papers published on the subject recently. Newspapers are constantly discussing new innovations that may shape our future and many insightful and positive stories have been found related to this topic area. Also many books on the subject of Technology and Fashion were used where the reoccurring authors found were Sabine Seymour and Bradley Quinn that provided a more in depth look into the different sectors and areas of expertise. Likewise opinion makers on blogs gave further understanding on the awareness of the subject matter as well as the different responses and reactions towards technology. Trend Forecasters websites such as WGSN gave deeper understanding of the current trend and where it could be leading. The Future Laboratory’s biannual trend briefing

Methodology

Method

Questionnaire

2a & 2b

Interview with Jewellery Designer Sarah 3a & 3b Kettley

Facebook conversation with artists Grindhouse Wetware

Appendix

Purpose

30 people were asked to fill in a questionnaire in order to gain insight into people’s views on the subject matter. Extreme questions were asked to get an idea of consumer’s initial reaction towards the idea of wearing technology. This questionnaire reinforced initial concerns on not to focus the report on consumers opinions on technology. Reasons for, consumers were not aware of the current trend, 58% of the respondents answered they could not see a correlation between fashion and technology or couldn’t say. Likewise only 13% classified themselves as trend innovators. Therefore from this, the main focus was to gain insight from professionals within the industry. The purpose of this interview was to gain a deeper understanding on the current movements that are happening not just within the industry of fashion but on the advancements of wearable technology. The interview was very informative and it broadened the research into new sectors of the market that were not initially considered (such as army wear) as well as key players within the realms of wearable technology. Grindhouse Wetware are best known for their extreme work and their concept of pushing boundaries of the human body. Following interview with Sarah Kettley, mentioning Sci Fi movies, was interesting to gain insight from people who created the ‘transhumanism’ trend (creating robots). This introduced the ‘quantified self’ and ‘transhumanism’ trend community.

Interview with Knitwear Designer Mary 5a & 5b Corcoran

The purpose of this interview was to consider if knitwear was an area that technology had impacted yet. Mary spoke of how technology has touched upon the yarns. This sparked initial thoughts on the recommendation of this project and further demonstrated that this report is based on a current trend.

Interview with Trend Forecaster Nina Faresin

6a & 6b

Phone Interview with Manel Torres

Speaking to Nina, once again demonstrated that this trend is not as futuristic as originally thought, it is currently happening. Likewise she provided interesting topics of research. Speaking to Manel Torres further moulded ideas for the recommendation. He provided information on his FabriCan product and offered interesting insight to consumer behaviour and how reactions have changed towards technology through the years (Towards FabriCan). He too provided good research topics to explore.

Fig.3

The Digital Revolution

“Once the sewing machine has been replaced or sophiticated, once a designer can spray-on clothes or transmigrate fabrics to the body, new things will happen... The designer will become less artist, more technician. He’ll be like an architect or engineer, with a sound background in chemistry.” - Rudi Gernreich, 1971

1760-1840

1951

The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 1790 to sometime between 1820 and 1840. This transition The history of photography commenced with included going from hand the invention and development of the camera production methods to and the creation of permanent images machine making mass starting with Thomas Wedgwood. He was the production for the first time first person to have thought of creating ever possible. permanent pictures by capturing camera images on material coated with a light-sensitive chemical. His practical experiments yielded only shadow image photograms that were not light-fast, but his conceptual breakthrough and partial success have led some historians to call him “the first photographer”.

1810 Invention of the watch. The first wearable timepiece was made by watchmaker Breguet for the Queen of Naples. It was a small ladies’ pocket watch on a bracelet chain.

1999

Polyester was first introduced to Though wireless was first seen in the American public. Advertised 1986 by the US Federal as a miracle fibre that could be Communications Commission worn for 68 days straight without that release the ISM band for ironing and still look presentable. unlicensed use it was in 1999, The garment industry had been the Wi-Fi Alliance was formed as looking for inexpensive ways to a trade association to hold the mass-manufacture easy-care Wi-Fi trademark under which clothing. At the same time this most products are sold evolution in fabrications was nowadays. taking place, radical changes in 1983 clothing style were also happening. Charles ‘Chuck’ Hull, co-founder and chief t 1935 echnology officer of 3D Systems, invented the first American Kodak introduced the first modern commercial 3D printer. He “integral tripack” color film and called it created the solid imaging Kodachrome. Its development was led by the process known as improbable team of Leopold Mannes and stereolithography (3D Leopold Godowsky, Jr. (nicknamed “Man” and Printing) which had “God”), two highly regarded classical musicians remained relatively who had started tinkering with color unknown to the greater photographic processes and ended up working public until the second with the Kodak Research Laboratories. Instant decade of the 21st century. color film was introduced by Polaroid in 1963.

1856 18 year-old English chemist William Perkin accidentally discovered a way to mass-produce colour in a factory. Working on a treatment for malaria, Perkin, by chance found ‘mauve’. His experiments failed to result in artificial quinine as he had hoped, but produced instead a dark oily mush that happened to turn silk a beautiful light purple.

2007 At $600, the iPhone was a luxury item at first. But five years later the phones dramatic impact can be seen in our daily lives, schools, factories and boardrooms. To date, more than 217 million iPhones have been sold.

Throughout history the design and manufacture of fashion and textiles have been closely related to scientific and industrial innovation. The sewing machine revolutionised clothing production in the 19th century and the discovery of nylon and polyster introduced a new world of possibilities to the 20th century fashion. Peering into the future from the early 21st century, radical technologies can be seen that are poised to redefine how we think about the design manufacture and consumption of fashion.

A brief historical journey on technology affecting the fashion landscape

The Digital Revolution

ashion is about experimentation. In its desire to interpret the changing Zeitgeist for each new era, fashion readily embraces novel materials and techniques (Lee, 2005). New technologies drive creativity and permit designers to innovate in previously unimagined ways. Throughout history the design and manufacture of fashion and textiles have been closely related to scientific and industrial innovation. The sewing machine revolutionised clothing production in the nineteenth century and the discovery of nylon introduced a new world of possibilities to twentieth century fashion. In the 1960s, a new generation of modernist fashion designers, including Rudi Gernreich, Andres Courreges and Paco Rabanne, were inspired by the glamour of flight, the space race and Pop Art. They experimented with new synthetics to create dynamic new shapes, styles and decorations (Lewis, 2013). They represent a defining era in which fashion did not reference the past but looked to the future. Since then, the fashion world has largely returned to the retro styling. In terms of technological innovation, it could be argued that fashion is yet to evolve. Instead, sportswear has Fig.4 become the new arena for high-tech clothing.

Technical innovations which have been vital to the success of the iPhone includes the use of touch screen technologies and zooming in and out with the touch of a finger. These were previously thought of as applications which would have stayed within science fiction movies such as Minority Report although has now become a reality. Apple have struck a nerve with the iPhone and consumers have finally become comfortable with relying on their mobile phones for much of their information and entertainment. Companies and brands have had to find new ways of interacting with their consumers by entering this â&#x20AC;&#x2DC;Apple Worldâ&#x20AC;&#x2122; and being part of the actual lifestyle of the consumer.

This report anticipates a future shaped by new materials and technologies that present exciting creative possibilities for fashion, the interaction of electronics into our clothing and accessories. Until now, electric fashion existed only in science fiction, but as the enabling technologies begin to emerge from laboratories, these designs could become reality. Initial markets to benefit from these new textile and clothing products will be the productive military, medical and sports industry, where consumers can track their well-being. Inevitably, however, these new technologies will eventually filter down to the fashion market and when they do, future generations of designers will have a new set of tools to work with, potentially changing fashion forever. We have already seen a shift in society through the fabrication of the iPhone. The iPhone has been the facilitator of explosive growth in the smartphone market and created an app economy that planted new seeds within industries and changed the face of gaming, social communications, location-based services and photography as well as advertising and e-commerce (Sass, 2011).

Plastic disc dresses, Life Magazine, July 7, 1968 : Paco Rabanne

The Digital Revolution

Fig.6

The Digital Revolution

Apple created a new online platform for the end user, being able to connect with people, process data and access any information at any time. This constant accessibility to information has triggered trends such as the â&#x20AC;&#x2DC;Quantified Selfâ&#x20AC;&#x2122; movement, where people want to constantly track data about themselves and everyday lives through the use of technology. The visual representation of the way we experience our reality has changed, Fig.5, which was taken during a important yearly world event just a few years apart from each other, demonstrates how we live in this digital age and there is no getting away from

it. We watch our lives through a connected lens. The iPhone itself is now just one of many smartphones, but the consumer behaviour it stimulated has been a benefit to everyone across the mobile universe. Likewise to companies and markets worldwide, in order for fashion to thrive long term, it needs to adapt and evolve.

Fig.5

This image was taken from a presentation at Belgacomâ&#x20AC;&#x2122;s M2M event today by futurist, Gerd Leonhart. While low quality, this image speaks a thousand words.

The New Camouflage

Inspired by the army’s rigor and silhouettesdesigns feature the military’s famous camouflage print in various forms. We saw it in fur with Michael Kors, textures that mimic the camouflage prints with Alexander Wang and contrasting the camo’s touch essence with a sophisticated silhouette with Guy Laroche (Neyt & Trochu, 2013).

ilitary style clothing is a popular fashion trend today, with combat trousers, military tailoring and camouflage prints featuring on catwalks worldwide. Although army-surplus garments and military footwear are seen in many urban wardrobes, few realise the impact that combat uniforms will have on future fashion. For example we see the camouflage prints and mountain ranger looks dominating the runways for Fall/Winter 2013 collections.

The New Camouflage

“Once again, our society is poised to make dramatic changes based upon developments in science and technology. Will fashion be able to afford to keep the same old methodology? ... I believe that technology can function only as long as we have the ability to imagine, a sense of curiosity and a love for our fellow men.” Issey Miyake, 2001

Fig.7 From left to right: Michael Kors, Alexander Wang and Guy Laroche

Nowadays, our capacity to withstand danger is being dramatically enhanced by new generation apparel. Specialised military garments enable soldiers to both endure and facilitate confrontation due to specialist disguise of their garment design. The United States military has established research projects to develop new types of intelligent clothing for soldiers, which will enhance the protective and communicative properties of uniforms and combat gear. Projects initiated by DARPA (The Defense Advanced Research Projects Agency) and the Unites States Army is pioneering the development of new wearable technologies. One of the most visionary and forward thinking projects Unites States military have been working on is the Future Force Warrior, which is an advanced technology demonstration project exploring the application of nanotechnology in combat wear (Weinberger, 2013). Nanotechnology entails the manipulation of material on an atomic and molecular scale. Nanostructure systems, structure being sized between the molecular and the microscopic, are generally believed to be the gateway to the technology of the future (Quinn, 2012). Attempts to create and exoskeleton that would weight the same as or less than combat uniforms have so far failed; yet if military clothing and equipment could be manufactured at the nanoscale, they would become lighter, more durable and would incorporate a variety of functions.

For example, in the occurrence of bleeding, the fabric would be able to detect and respond accordingly; therefore in this scenario the fabric would respond by creating a tourniquet. Another example would be in the case of a ruptured limb, where the fabric would respond by becoming more rigid, subsequently enabling support. In addition to sensory responsive properties, combat uniforms will also have an intelligence of their own; for instance, in the case of injury, the uniform would transmit this information to the relevant medical station and subsequently medicine would be administered (Tech News Daily, 2012). Furthermore, the uniforms will be further engineered to automatically adapt to their surroundings, therefore deeming printed camouflage patterns redundant. These innovations will initiate the incorporation of similarly advanced technologies into everyday clothing, as few fashion brands are able to extortionately invest in the creation of advanced fashion technology. Thus, once these technologies have been fully developed by such organisations as DARPA, similar applications can be created for performance clothing and eventually adapted for everyday fashion.

This X-ray of the suit worn by NASA astronaut Alan Shepard for his jouney to the Moon in 1971 reveal the communication technolog, life protection and temperature controls integrated in its stanlesssteel fabric. Spacesuits continue to be a model for todayâ&#x20AC;&#x2122;s combat uniforms.

The New Camouflage

Fig.8

Prime of Innovation

“The need to vary the environment frequently, together with sport, led us to the concept of transformable clothes (Mechanical trimmings, surprises, tricks, disappearance of individuals.” Giacomo Balla & Fortunato Depero, 1915

t first glance, fashion and sportswear appear to be at opposite ends of the spectrum. The Fashion industry places emphasis on looks and trends, for the most part targeting female consumers while sportswear on the other hand delivers performance and functionality to a predominately male audience. However, few realise that the market leader for developing fabric technology and high performance designs (Quinn, 2002) is actually the sports industry rather than the more commonly associated fashion industry. Sportswear encourages the movement of materials and technologies across disciplines and the fashion industry as a whole is taking high performance fabrics into the collections of forward-thinking fashion designers. Just like clothing developed for the military and space exploration, clothing created by the sports industry is often at the forefront of advanced textile developments. For example, Speedo is famous for its developments in high-tech, highperformance swim apparel with an internationally renowned reputation for an innovative approach to competitive swimwear. They recently launched the LZR Racer suit (featured at the Beijing Olympics) that used a fabric that was intertwined with technology (Fig.9).

Prime Of Innovation

Woven from lightweight, polyurethanecoated fibres it was designed and engineered to perform in the manner of a shark’s skin, with the ultimate goal of reducing drag. The fabric was created in collaboration with both NASA and the Australian Institute of Sport and was given a cutting- edge appearance by motifs designer ‘Comme Des Garcons’ in order to push the technology based swimwear business further into the fashion world (Mortished, 2009: online). Similarly, the Vortex 2 speed-skate suit launched in 2002 by Japanese sportswear label ‘Descente’ was characterised by silicone ribs that improved the skater’s stability and also by the use of compression to reduce drag. It did this by using pressure to contract the wearer’s body tissue ultimately making the body more streamlined and hence more aerodynamic in order to increase performance. (Quinn, 2012).

Prime Of Innovation

Fig.7

Fig.9

Prime Of Innovation

These methods are becoming visible with fashion designers today. Such technologies are evidently used today to create a more idealised shape that can be appreciated through the appearance of ‘shape wear’ body shaping garments. Compression undergarments are intended to give the wearer a slim and shapely appearance, mimicking the toned appearance of an athlete. Another section within sportswear, which has hit an inflection point is wearable technology. Research firm Gartner expects wearable technology to be a $10 billion industry by 2016. According to Credit Suisse (Leading global financial services) the wearable technology market is estimated to reach $30- $50 billion over the next 3-5 years (Wilen-Daugenti, 2013: online). As we see the popularity and growth of smart phones we also see an increase in the use of smart textiles, especially those designed for sensing and monitoring that can be linked back to our smartphones. It is estimated that 61% of the wearable technologies market is attributed to sport/activity trackers in 2013 (Apex, 2013); therefore it is apparent that sports and activity trackers account for the largest mass of wearable technologies today.

The pursuit of healthy bodies and a fit appearance has created a demand for garments that bridge the gap between sportswear and everyday wear. For example, the Heapsylon’s ‘Sensoria Fitness Socks’, (Fig.10). Heapsylons specialise in wearable technology, combining technology and fashion in a way that can advance both industries. They have managed to weave technology into smart socks for runners which tracks steps, calories, speed and distance, how fast they run, where they land on their feet and how they stride. It is aimed to avoid potential injuries.

Prime Of Innovation

It provides you with tailored workouts to individual’s bodies and takes into account the impact on the ground, foot striking and fatigue during your performance, which can then be used to help runners adjust their technique to prevent injury. The socks can be worn for exercise yet can equally be used effectively when worn as part of an ordinary outfit: during everyday activities. “We were talking about the next wave of computing- the next computers are going to be embedded in what we wear- and being from Italy, we were naturally talking about fashion,” said Heapsylon co-founder and CEO Davide Vigano (Parkhurst, 2013).

The e-textile sensors are appropriately positioned under the foot, therefore providing the most accurate step, altitude and calorie counter ever developed. The socks detect where and how your foot lands on the ground, helping runners avoid potentially dangerous techniques such as heel striking or excessive forefoot that could lead to back pain or Achilles tendon injuries. The smart fabric sensors send pressure data to the Sensoria Anklet that uploads data wirelessly either via computer or through smart phones when it is in use. The mobile application monitors and guides you through real-time audio signals.

Fig.10

With the rise of smartphones and technology being embedded into our clothing, human inventiveness has a new level of playing field. The human body holds a whole new source of information, from emotions, movement, breathing, energy; it can now produce traceable data. New technologies allow people to keep track and quantify every detail of their daily lives, it allows individuals to know themselves like never before. This growing technology movement is called the “Quantified Self”the understood self. Michael Galpert, one of a growing number of ‘Self Quantifiers’ states, “One cannot change or control that which one cannot measure” (Dembosky, 2011). In the short term, sportswear seems to have laid the strongest foundations for the future of fashion; whilst it awaits the launch of intelligent designs enabled through sportswear technology. Compared to the innovations that sports designers developed in such a short time, it is surprising fashion has taken so long to embrace the sense of utility, functionality, performance and transformability. The demand for wearable technology that can quantify our health and fitness is growing among mainstream consumers. As these wishes come together in single garments, the boundaries between high-performance sportswear and high-tech clothing promise to disappear completely.

The Extremists

Prime Of Innovation

“I imagine the future of fashion in these terms: there will be design centres, research laboratories that will deal with practical applications, constantly adapting to the changing conditions of life. Research into the materials used and a simplification of aesthetic notions will become increasingly important. On such carefully considered and up-to date foundations, vision and sensuality will find a wide field opening up before them.” - Sonia Delaunay, 1935

Fig.11

rtists have looked into the notion of pushing the boundaries between human and robots, focusing on extending the capabilities of the human body. Australian performance artist, Stelarc has visually experimented and amplified his body. He has used medical instruments, robotics, Virtual Reality systems, the Internet and biotechnology to explore alternate, intimate and involuntary interfaces with the body (Stelarc). He has performed with a Third Hand, a Virtual Arm, a Stomach Sculpture and Exoskeleten, a 6-legged walking robot to name a few. His renowned art piece that caused controversy was his ‘Ear On Arm’. This was a surgical construction of a full-sized ear on his forearm; one that would transmit the sounds it picks up (Fig.11). The project was about replicating a bodily structure, relocating it and re-wiring it for alternate functions. Stelarc’s is constantly trying to find way of editing the human’s bodily functions. It manifests both a desire to deconstruct our evolutionary architecture and to integrate microminiaturised electronics inside the body.

“What becomes important now is not merely the body’s identity, but its connectivity- not its mobility or location, but its interface. Now we can engineer additional and external organs to better function in the technological and media terrain we now inhabit” – Stelarc Though the ear is yet to have a function, Stelarc speaks about it also being used aside from remote listening as part of an extended and distributed Bluetooth system- where the receiver and speaker are positioned inside the mouth. Therefore if you telephone him, he could speak to the person through the ear but hear the voice ‘inside’ his head. If the mouth was closed only he could hear the voice however if it was open, someone would be able to hear the voice coming from his body, creating an acoustical presence of another body from somewhere else. This additional ‘Ear On Arm’ effectively becomes an Internet organ for the body (O,Callaghan, 2011).

The Extremists

This extreme art did cause controversy however when reality TV star and model Sacha Gardner, who was born with one ear missing, stated “He views this as art but I personally find it offensive. It is a very sensitive subject for a lot of people. This is not something people should be using as an expression of art. It shows a lack of understanding” (BBC News, 2007). However plastic surgeon Mr David Gault mentions how patients have had ears moved onto the forearm and then grafted on to the head before, so though this is not something technically new, the publicity would do some good if it prompt patients who are missing an ear to seek help that they had not realised was available. Parallel to Stelarc are the ‘Grindhouse Wetware’ who are a group of programmers, engineers and enthusiasts. Their main focus is about evolving the human body faster than nature allows us to. Computer hacking is a constant issue rising in this day and age with the advancements of technology; what if someone told you that they were capable of hacking their own bodies? “How much can you push the human and evolve the human body? Do it faster; do it better? I just want to see how far I can push the ‘human’ “ stated one of the co founders, Shawn Sarver (Popper, 2012).

Body hacking is part of the ‘transhumanist’ movement, the idea of trying to improve our bodies by adding new technologies to them- internally and externally. For example, Tim Cannon, one of the cofounders of ‘Grindhouse Wetware’ went to a professional to implant a magnet into his ‘pinky’ finger in order to pick up electromagnetic fields. He constantly seeks to explore and advance the practice of body hacking. “I wanted to be a robot since I was a little boy” stated Tim Cannon (Popper, 2012).

Fig.12 The Extremists

The transhumantist movement is still fairly small however as interest spreads across the globe, numbers are rising and Grindhouse Wetware have decided to take the reins and see if they sparked a larger movement (Kent, 2012). Speaking to Grindhouse Wetware themselves they told me: “We started out with wearable technology, but we wanted to take it a step further. We realised that we have the capability to do implantables, and just ran with it” (Refer to Appendices 4 to read emails with Grindhouse Wetware) Cannon shares how Grindhouse Wetware’s initial exploration of what was possible, was after sitting through a Kevin Warwicks presentation. Kevin Warwick is a British scientist and professor of cybernetics at the University of Reading (UK), known for his studies on direct interfaces between computer system and the human nervous system, doing research within the fields of robotics (Motherboard, 2010). Warwick stated “If you want to change the world, you are not going to do it as a businessman, or a politician or a sportsman. You can change the world by being a scientist or an engineer”. As Kevin Warwick squeezed his hand into a fist one day in 2002, a robotic hand came to life 3,400 miles away and mimicked the gesture (Fig.12).

Warwick had successfully wired the nerves of his forearm to a computer in Columbia University (New York) and networked them to a robotic system back in Reading. “My body was effectively extended over the Internet” (Greenemeier, 2008). He used the robot hand when he was in Reading, to communicate with his wife. She had agreed to receive a similar implant that was then used as a form of communication “If she moved her hand,” Warwick says, “My nervous system received one pulse. If she moved her hand three times, I received three pulses”. In 1998 Warwick was one of the first people to have a simple digital transmitter implanted just below the skin, in his upper left arm, which Grindhouse Wetware then followed (Fig.13). His visions, likewise to Grindhouse, of transforming humanity into a race of halfmachine cyborgs, able to communicate with the digital world is an evolution he feels is necessary in this day and age; “Those who don’t will be at a serious disadvantage in tomorrow’s world, because they won’t be able to communicate with the “super intelligent machines”” (Greenemeier, 2008).

Fig.13

These futurists, Stelarc, Kevin Warwick and Grindhouse wetware engage with human evolution, the redesign of the human body through advanced technologies, post-humanist philosophy and aesthetics. “We keep designing technology around the abilities we have as human beings. I want to redesign humans and technology together,” states Kevin Warwick (Byrne, 2013). Whilst we’ve seen designers such as Hussein Chalayan, using clothing to add bodily functions, these artists use technology directly with the body. The question stands, if this transhumanism trend evolves, what role will it play within fashion? The Extremists

Fig.14

Textile Frontier

â&#x20AC;&#x153;It seems to me that the important improvements and innovations in clothes for the World of Tomorrow will be in the fabrics themselves. It is reasonable to assume that new types of fabrics will be developed which will greatly affect the design of clothes. Such fabrics, might, for, instance be constituted of microscopic cellular construction, made of a contracting and expanding fibre. When affected by atmospheric variations, the cells would automatically open or close and regulate air penetration. In other words, fabrics would be air-conditioned. Stitching will probably be replaced by some cementing or moulding process.â&#x20AC;? Raymond Loewy, 1939

Textile Frontier

he worlds of fashion and materialscience are currently merging. As soft material and fibre technologies emerge, they spark potential for fresh innovations within fashion design. Advanced and progressive materials give garments a new range of capabilities, ultimately extending the functionality of clothes and widening their appeal to the consumer. Exciting colours and surface patterns can be created by fabrics interwoven with optical fibres or light emitting diodes (LEDs) that can be programmed to illuminate. This obviously becomes a benefit in certain situations and allows the functionality of clothing to be increased. Not only this, but materials that react to the wearer also adds another gift to fashion design. For example, materials that react to an injury during combat warfare. These crossover materials mark a certain milestone in fashion in which garments are becoming characterised by hybrid forms and are emerging as complex, versatile hybrids. Their ability to mimic natural processes are changing the way the human body experiences things, while the capacity of garments to interact with urban technologies is influencing the way technological systems are built (Starbuck, 2013). For such wireless interaction to work smoothly, user-friendly parameters are being factored into the design of wearable technology and hence into the garments themselves. This is giving wearers a central role in the development of materials and ultimately fashion fabrics are beginning to be created with a wider spectrum of consumer needs in mind.

Electronic textiles can enable clothing to function as computing devices, transmitting data via conductors, switches and sensors. Transistors and antennae can be created in fibre form and woven into garments so that they can communicate with remote systems. However, wearable technology can evolve only at the same rate as the conductive materials that sustain it. Manufacturers active in this field are developing soft computer parts that can be worn comfortably, engineering them to have the same strength and elasticity as most commonly used fashion fibres (Starbuck, 2013). Although wearable technology is still an emerging invention within fashion, the conductive hardware that facilitates it is evolving at a rapid pace. Shape-memory materials, such as Nitinol (a metal alloy of nickel and titanium), have the ability to change shape in response to a reduction in temperature and then revert to their original form when heated above their transformation temperature (Huang, 2010). For example it would be possible to produce a sleeveless summer dress that would expand when the temperature drops, lowering its hemline and growing around the wearerâ&#x20AC;&#x2122;s arms. On the other hand, concerns about personal security and safety are generating a demand for protective clothing. The need for protection is not limited to personal safety (such as combat wear), however fashion houses and other commercial entities need to safeguard against having their designs reproduced or their labels misrepresented (Refer to Appendices 5a to

read interview with Mary Corcoran). Fashion fabrics can now integrate a range of data-storing devices in order to identify and authenticate the manufacturer and the production methods which is extremely important as counterfeit fashion results in significant losses for manufacturers and retailers. According to a press release from the leading Swiss fabric innovators, Scholler, the problems arising from product piracy are currently estimated to cost world trade $200-300 billion annually (Phillips, 2009). For years fashion labels have been looking for an effective means of protecting themselves against illegal copying and fraudulent use of their labels. Therefore, Scholler proposed a solution when it introduced its DNAtex system which marks fabrics with a range of invisible signifiers that makes each one unique. These signifiers can be read via a handheld electronic sensor, providing an efficient means of identifying and authenticating fabric. As a result, Counterfeit clothing and accessory â&#x20AC;&#x2DC;fakesâ&#x20AC;&#x2122; will be easier for the consumer to spot, creating a level of protection for the manufacturers interests and also discouraging copies.

Textile Frontier Fig.15

Electroluminescent wires are emerging as a favourite material for many designers. They can illuminate an entire surface area or create interesting patterns that light up, but more importantly all of these wires are extremely low voltage, which makes it possible to power a 30 metre long length wire with just a one amp fuse (EL Wire, 2012). Designers such as Cutecircuit, who are global leaders in the interactive fashion world, have been using these materials since they launched in 2004 continuously pushing the boundaries of wearable technology. They have introduced many groundbreaking ideas to the fashion world by integrating new beauty and functionality through the use of smart textiles and microelectronics. The label launched its Pret-a-Porter line in 2010, bringing the first-ever technologically infused ready to wear line to major fashion retailers (CuteCircuit, 2004). Cutecircuit are currently gaining lots of media coverage as a result of celebrities being seen wearing their garments. Most recently, Nicole Scherzinger transformed herself into a living Twitter stream at the launch party of the EE 4G mobile network in the UK (Fig.15). She exhibited the world’s first haute couture dress that featured Tweets, ultimately gaining massive media coverage. The Guardian stated, “No pre-existing moments in the fashion cycle would have enabled us to predict CuteCircuit’s Twitter Dress” (Brownie, 2013). Within my interview with Sarah Kettley (Refer to Appendices 3a) she states :

“CuteCircuit’ are very good at balancing those. Where they’ve got the red carpet stuff and attention seeking, headline grabbing and they use it to deal with a lot of technical issues to actually solve technical issues… It’s beginning to filter through public consciousness. But more importantly they are making the mainstream more possible.” As a result, their amazing interactive Haute Couture and Ready-to-Wear pieces could progressively change the fashion landscape as we currently know it.

Textile innovation is rapidly transforming our world. The drive to make clothing more multisensory has been out there for years however it seems that now the time is closer than ever. Now that designers have access to these new technologies, fashion may soon become characterised by technological innovation. Smart materials and systems are finally becoming technically and economically more accessible for fashion and designers will start to be able to design experiences as well as products.

The start of this change has already commenced as it can be seen that designers such as Manel Torres have already started to create their own specialised materials (Refer to Appendices 1 for Case Study). The hope that a lot of technologists share that one day high-tech computer systems will be part of our everyday wardrobe seems to be a hope that is ebbing ever closer to realisation.

Textile Frontier

These imags are designs of Spanish Designer Manel Torres who created the FabriCan (Spray on Fabric- Refer to Appendix for Case Study)

Fig. 16

Fig.17

Le Avant- Garde

Bradley Quinn describes the dress in his book ‘Techno Fashion’ as “ a high-tech triumph that married fashion to technology and technology to the body” (Quinn, 2002). The Remote Control dress is made of fibre and resin and contains solar panels, wireless technology, electrical circuitry and automated commands.

ollaborations between the worlds of fashion and technology have been omnipresent for decades with designers such as Issey Miyake, Hussein Chalayan, Iris Van Herpen and Alexander McQueen to name a few. These avant-garde fashion designers are notoriously regarded for their futuristic and conceptual attitude to new technology. Hussein Chalayan has often been dubbed fashion’s resident mad scientist, Chalayan has extended the simple function of fashion by intertwining the body with extra technological functions (The Dolls Factory, 2010). A renowned example of this is his ‘Remote Control Dress’ in Spring/ Summer 2000 (Fig.18).

Fig.18

“It would be fantastic if Haute Coutue could again become a laboratory for fashion. That would make it relevant once more. I really do like the research and statements that Cardin made back in the 1960s, he was my first hero. Fashion, science, technology, craftsmanship and fantasy should work hand in hand. I am a volunteer if a big couture house is willing to invest in such an adventure... Cardin, Courreges...?” Walter Van Beirendonck, 2004

Le Avant- Garde

It was the first fully functioning garment containing a wireless device. The dress was the epitome of scientific progress and challenged fashion norms (Miller, 2010). Quinn argues that fashion has always had interactive and communicative properties and the Remote Control Dress increases these possibilities for future designs (Quinn, 2002). Chalayan has blurred the lines between body and machine—testing the boundaries of future fashion. Fashion seems to have been an area somewhat untouched by technology and the Remote Control Dress represents how far fashion has come from it’s original roots. Chalayans designs question the notions of what can be worn and the inclusion of technology is a natural progression in the evolution of clothing. These revolutions will shape the future of clothing. While designs like ‘The Remote Control Dress’ back in 2000 were functional, they were awkward to wear and look at, however today’s wearable technologies are rapidly rising to meet the fashion world on its own terms by producing garments that are both stylish and comfortable. We are already starting to see this from Chalayans transformative clothing that was showcased on the runways at Paris Fashion Week for his Autumn/Winter 2013 collections. Never did we expect to see a garment physically transform itself with a pull of the collar (Balbo, 2013: online).

These kinetic clothes morph before your eyes into two completely different looks. The garments featured built-in technologies that caused necklines to deepen, skirts to balloon and hats that slowly hug the model’s faces but also included simpler frocks that depend on simple tailoring to completely transform. A simple tug to the neckline released shoulder-line snaps where a top layer of material cascades down the body revealing a different under layer; a new full-length outfit is created (George-Parkin, 2013)(Fig.19). Chalayan has always been at the forefront of fashion innovation and pushing boundaries of what the human can wear. With this he strives to extend clothing’s functions, as we’ve seen people such as Kevin Warwick using technology to enhance the body’s function with technology, Chalayan uses the garment. Nina Faresin reiterates this: “I think its only those leading edge designers are just the beginning of it. You know they are experimenting and being excited about what technology can bring and I think it is only a matter of time it is a lot more integral” (Refer to Appendices 6a).

Fig.19

The years 2012 and 2013 have introduced revolutionary materials and fashion innovation on the catwalks. Aside from Chalayan’s transformation collection we also saw Iris Van Herpen’s 3D ‘Hybrid Holism’ collection at Paris Fashion Week 2012, where she offered a vision of “living technology” and materials which can connect human creations to natural systems. In living technology, Van Herpen sees a future where creations in design, art, architecture and fashion will be partly alive and constantly changing (Iris Van Herpen, 2012).

Van Herpens future vision is a radical change for what design can be, which we see in the Hybrid-Holism collection (See Fig.20), highly complex and incredibly diverse in terms of shape, structure and materials.

“I feel it’s important that fashion can be about much more than consumerism, but also about new beginnings and self-expression, so my work very much comes from abstract ideas and using new techniques, not the re-invention of old ideas. I find the process of 3D printing fascinating because I believe it will only be a matter of time before we see the clothing we wear today produced with this technology, and it’s because it’s such a different way of manufacturing, adding layerby-layer, it will be a great source of inspiration for new ideas.” – Van Herpen (Chalcraft, 2013).

Fig.20 Fig.21 Fig.21 is one of Issey Miyakes designs. Issey Miyake has long been a fashion innovator and has continually challenged pre-existing explanations of fashion as he explores new horizons. The Japanese designer challenges, explores and celebrates the infinite possibilities of creativity, indentifying fresh insights into the meaning of clothing and new ways of thinking about it. The experience of fashion, in Miyake’s thinking, begins the moment the garment is worn and communicates meanings to the wearer and onlooker.

Le Avant- Garde

Fig.22

Fig.23 Van Herpenâ&#x20AC;&#x2122;s Crystallization collection (Spring/Summer 2011) (top right on Fig.22 and Fig.23) was the first in which she showed garments made with 3D printing technology, for which she teamed up with architect Daniel Widrig and digital manufacture MGX. She continued the association for her Escapism collection (Autum/Winter 2011-12) (top left and bottom row on left page).

Le Avant- Garde

These futuristic designs are only seen on the catwalk and are yet to make an appearance in the mainstream market. However, that said, fashion house Burberry is proving to be at the forefront of the technology revolution. The luxury fashion market is starting to catch on with the rest of the world when it comes to advancements within technology as we’ve seen with brands such as Burberry. Burberry appreciates that we live in a digital world and that their customers are constantly connected to the web and each other; their digital strategy has been fundamental to its newfound relevance (Hick, 2011) Chief creative officer and recently CEO, Christopher Bailey is just as focused on the company’s digital output as he is on developing the next collection. There is no doubt that Burberry is one of the most successful examples of a luxury brand that has harnessed digital channels as a way of delivering unique experiences. Live-streamed catwalk shows, viral social media campaigns and online communities have all been instrumental in the launch of new technology. But the brand has not only become visible to the masses; it has achieved market dominance in the face of the recessionary climate (£2bn revenue in 2012) (Swinton, 2013). If other brands hesitate to launch into digital because of costs, Burberry are the perfect example that innovation pays.

Burberry’s holographic catwalk in Beijing was a jaw-dropping example of how to transform a typical catwalk into a fully immersive, digital fashion show. A mix of real live models and holograms provided the first ever high tech runway show. Deemed the ‘Mother of all parties’ by the Daily Telegraph, the event marked a huge leapforward in the scale of high-tech live-event production (Hall, 2011). “We have an incredible team at Burberry and we all grew up with digital so it’s not something we need to remind ourselves to do it but it’s part of the culture within Burberry. Technology is the enabler and I find it incredibly liberating. Burberry is really about an experience, it’s about an attitude, it’s about the spirit, and I think it’s a lot about music. Of course, there are the clothes and bags, watches, eyewear and fragrances. But today we are all about how you interact with the brand. It’s not a one-way street anymore, it’s a two-way dialogue,” he says (Hick, 2011)

While the trench made them famous, it’s the digital innovators at Burberry’s headquarters who are taking them into the future, and fast. Burberry likewise has recently created a new bespoke service for the iconic trench (Burberry: online) In the modern Burberry tradition, it will be a neat mix of digital and heritage, based around a new digital platform that will enable customers to make their ideal trench out of more than 12 million possible combinations. The question is where do we go from here? How will Burberry maintain being at the forefront of technology innovation? And will we ever see the designs of these conceptual designers on the high street?

Le Avant- Garde

Fig.24

Fig.25

Conclusion

lthough fashion is characterised by seasonal trends, the industry itself is established by long-term developments that spark new styles and influence their impact. Modern fashion has always reflected social shifts, financial markets, and political affairs and will continue to do so in the future. Its future will be driven by technological developments more than it currently is. Scientific research that we see in technology nowadays (Army, Sportswear, NASA etc) will have an impact on the way clothing is worn and experienced. Shifting consumer attitudes will revolutionalise the ways in which garments are designed as well as how they are sold, as seen with Burberry. The technological revolution is transforming fashion, as we know it. Twenty first century fashion is currently becoming aligned with ambitions to maximise the bodyâ&#x20AC;&#x2122;s potential, enhancing the performance of athletes, enabling bodies to heal more quickly, linking wirelessly to multimedia platforms etc. Future fashion will reflect what we humans know to be true about ourselves: that we have the potential to be more than we allow ourselves to be. Fashion will facilitate the creation of group

Conclusion

dynamics, connecting individuals with one another and forming social networks as I have witnessed myself with speaking to Sarah Kettley, who specialises in emerging technologies and smart material with jewellery, creating new social platforms within her designs (Refer to Appendices 3a). As centuries role by, clothes have always been and always will be something that represents us within our society, whether being Mediterranean or Nordic. Clothes have been functional, stylish and represent a feel good factor but now we are on the eve of a new beginning. When fashion and technology intertwine. A whole new aspect has to be taken into account. Our clothes will never have said more about us than they will tomorrow.

Recommendation R

Tomorrows Wardrobe

advancements within army, medical and sportswear for years now, these advancements have yet to manifest themselves in fashion. Designer Manel Torres, creator of ‘FabriCan’ states in interview that he feels “the fashion industry is not ready for such innovation” (Refer to Appendices 7) and for these reasons his business focus is still largely on medical advancements. He confirmed the suspicions that creating awareness is of the utmost importance in this market. Without awareness there can be no trend. Recently, for example, CuteCircuit have been using celebrities to raise awareness for their LED garments.

esearch shows there is the possibility that the fashion industry is not ready as yet for such advanced technology. However this does not mean to say it will never happen. Through interviewing designers and trend forecasters, it is evident that we are in the transition albeit unbeknown to the general public at large. However, as this research report outlines, this technology is already integrated in other markets (E.g.Army, Sportswear). Therefore the lingering question may be, why does the fashion industry need the inclusion of technology? We are living in a digital age and new generations are using technology in every facet of their lives. As the other sectors of the market enjoy the technological experience, one would assume this would give rise to the question, what’s happened to the fashion industry? To be successful in the fashion industry it is essential both to be forward thinking and up to date with the status quo. While the scientists have been working on the

“One day we will live in a world where consumer products will be completely tailored for the individual and not the masses... In the same manner as we have water pipelines running into our homes, one day we could have a futuristic pipelines that would transport polymers and other compounds that we would run through nano-assemblers (devices for rearranging molecules) to manufacture itmes of our choice” - Freedom of Creation, 2004

Who Would This Work For? Therefore, I feel FabriCan would benefit from a PR campaign in collaboration with a well-known luxury brand, creating an in-store experience for the consumers. Whilst FabriCan is currently unavailable for sale, Dr Torres is looking for collaborators to distribute and manufacture the unique product (Doc Stoc, 2006). Therefore this PR strategy would involve a section in a store where consumers could design their own accessories such as gloves, socks, scarves perhaps a piece of jewellery made out of fabric, where they could spray it on themselves, take a picture and then share it on digital social media platforms. This would create the opportunity for consumers to interact with the product and for FabriCan to gain recognition. This experience would allow people to be spoon fed into a new experience and thus breaking down the barriers of a sci-fi society that consumers fear. Hopefully the acceptance of such a forward thinking and unique product would not only change consumer’s acceptance to FabriCan, but also create a new consumer confidence with technology. In offering the consumers a taste of the future and what is yet to come, this PR campaign could open the door to a whole new way of thinking or even dressing, sparking exciting new prospects in the world of fashion where accessories as we know it becomes a thing of the past.

Their digital adoption is vast and varied, they were the first fashion brand to live stream its runway shows, the first to sell live from the catwalk online and in-store via iPad and the one and only brand to attempt a 3D holographic film immersion for its China launch. With 1.1 million followers on Instagram, Burberry is showing promising movements within the realms of the digital, yet there is a huge potential that they are yet to tap into- clothing.

The company adopting this technology needs to already be a brand where technology innovation is of importance. Furthermore the company would need to have a strong brand identity for consumers to be more accepting to it and gain stronger recognition and have a level of trust already standing. The PR strategy aims to create awareness of new technology in clothing and make the concept of it less alien to the general public. Likewise the company would have to be within the luxury sector due to new technologies being so expensive, it would be the only area of the market where starting up, would be viable. Furthermore the luxury consumers have more disposable income and are more technological savvy and renowned to be early adopters on trends. For this reason I feel Burberry would be an ideal contender to take this on. Burberry is known for their groundbreaking use of digital innovation.

At University I had the privilege to attend a lecture taken by Christopher Bailey, where he shares his thoughts on the importance of being the head of the pack of digital innovation. He stated keeping up with competitors is not of importance to them but to be learning from the scientist of today. For this reason I feel Burberry would take interest in this PR strategy once again forcing them to stay ahead within the industry and furthermore creating what Christopher Bailey considers important; media exposure.

“Burberry is now as much a mediacontent company as we are a design company, because it’s all part of the overall experience. It’s very important to consider new technologies with a light approach” states Chief Creative Officer of Burberry, Christopher Bailey.

Reccomendation

The Launch T STRENGTHS

WEAKNESSES

Burberry is on iconic brand Strong brand identity Burberry are not scared to try new things Burberry is currently at the forefront of innovation

Requires a large amount of investment Might be too technological Legalities of the spray within an in-store environment

OPPORTUNITIES

THREATS

Really encourage the concept of wearing new technologies for consumers Initiate new ideas and designs in the fashion industry Demonstrating to the public Burberry is at the forefront of technology on the high street, following their steam of the catwalk in-store fame. The perfect accessory for the iconic trench coat in cohesion with Burberry’s theme of choosing the IT model, it is using the newest, latest more interesting development in retail fashion.

Hype might not meet the public expectation Fashion industry may not be prepared for the innovation Because spray on fabric has not be released yet it is impossible to judge the publics response Would it only appeal to a limited consumer base, being a certain style?

he original launch of the PR campaign will be executed on Wednesday 17th December 2014. The Winter Season is a time in which consumers could spray on accessories such as ‘Gloves and Scarves’, and taking into consideration the peak in shopping during Christmas time, it feels most adequate to have the week event around this time of the year. The launch would be located in Burberry’s flagship store in Regent Street. Burberry’s Regent Street Store in London is known as ‘The tech-tastic new Burberry flagship’ (Dailey, 2012), thus taking advantage

Reccomendation

Fig. 26 Front of Invitation and Fig.27 Back of Invitation

of the stores renowned aspect of digital advances, it seems appropriate to have the revolutionary FabriCan experience within such store. Fig.22 and Fig.23 is a mock up of the invitations that would be sent out to celebrities, bloggers and editors inviting them to the launch of the event and following onto the next page, is a mock up of a press release that likewise would be sent out to create further buzz around the subject.

Press Release

Burberry Strikes Again

Burberry & Manel Torres Collaborate to Present a Innovative Shopping Experience Burberry today announced that Manel Torres’s product of the FabriCan will be featured within it’s flagship store on Regent Street. For one week only starting Wednesday 17th December 2014, Burberry consumers will have the opportunity to design and create their own accessories with the innovative creation of the spray on fabric aerosol ‘FabriCan’.

Consumer Profile Christine Sharrock: 32

“What I’m most please about is having been able to hold onto the original idea and to make it a reality. Spray-on fabric will be limited only by the imagination of the people using it” shares Manel Torres. Burberry are offering their consumers the chance to partake in such imagination. Never has this technology been available to the general public and Burberry strikes once again in being the first to adopt new innovations. This collaboration celebrates and embraces the relationship between the worlds of science and design. “We have a mutual passion for creating beautiful products and unlocking emotive experiences through technology” said Christopher Bailey, Burberry Chief Creative Officer and CEO. “We are a digital luxury retailer and one of the fastest growing in the world today” stated Angela Ahrendts before her transition from Burberry to Apple. As Burberry have been exploring the merging of physical and digital experiences perhaps it only seems natural to take it onto the next level. We have seen them do it in store; catwalk shows, advertising; now we see it in clothing. This is an experience that could potentially change the fashion landscape. Burberry, the world’s leading digital luxury brand, its headquarters in London. Founded in 1856, it is listed on the London Stock Exchange (BRBY.L) and is a constituent of the FTSE 100 index. Press Contacts: Jenna Littler Burberry press@burberry.com

Traditionalist

Quality Driven

Conscientious

Christine is a representative to the consumers that buy for quality rather than quantity. These consumers style is low-key, simple and traditional but with an air of understated trend appeal. Once they have found a brand they can rely on for their quality, they become a loyal customer. She has been a loyal Burberry consumer for over 8 years.

Consumer Profile Georgie Wright: 26

Prediction T

he aim of this PR campaign is to not only to create awareness towards FabriCan but likewise for consumers to have the opportunity to experience such technology. It has been made clear from research, once consumers have the occasion to experience it and know the product, the concept of it would not seem so futuristic or alien to them. Furthermore it could create a visionary impact for designers to start designing more forward thinking garments, knowing consumers would be more open to their new ideas. Though this is currently aimed at the luxury consumers (Burberry consumers), through the years and with help of new technologies,

Tech Savvy

Standout Statement

designers will find ways of simplifying the technology and commercialising it, which will enable cheaper ways of manufacturing the technology, leading to perhaps one day its presence on the high street. This report has demonstrated the advancement of technology and itâ&#x20AC;&#x2122;s inevitable influence on fashion. As proposed harnessing the attention of the consumer through an exciting/fun PR campaign, will help integrate future fabric technology possibilities in the consumer lives later on.

Innovative

Georgie is representative to the consumers of the digital World, those that demand all that is new and exciting in the retail and experiential World. They are slaves to technology, choosing Apple over its competitors for its sheer desirability. They want immediacy, impact and captivation with brands, responding to unique offerings and the digital presence of companies. These are the consumers we are targeting through this PR strategy. Georgie is already a Burberry consumer and a trend innovator, she calls herself a â&#x20AC;&#x2DC;Tech Geekâ&#x20AC;&#x2122;.

“Who knows what clothes will be? Maybe an aerosol used to spray the body; maybe women will be dressed in coloured gases adherent to their body, or in halos of light, changing colour with movements of the sun or with their emotions… clothes will become transparent, and revert back into being ornaments once again, reflecting women’s desires to free their body from all former restrictions to let in new possibilities… free ones, really free” – Paco Rabanne (1969)

List of Illustrations

Fig.1 – LEE, S. 2005. Fashioning The Future. London: Thames & Hudson. Fig.2 - LEE, S. 2005. Fashioning The Future. London: Thames & Hudson. Fig.3 - LEE, S. 2005. Fashioning The Future. London: Thames & Hudson. Fig.4 - WARD, G. Unknown. Innovative Fabrics of the 1960s. [online] Cool Old Stuff. Available: http://www.coololdstuff.com/fashion1.html. [Accessed 27 December 2013] Fig.5- EVANNS, J. 2013. How Apple’s iPhone has already changed the planet. [online] Computer World. Available: http://blogs.computerworld.com/ smartphones/22073/picture-shows-how-apples-iphone-has-already-changedplanet. [Accessed 27 December 2013] Fig.6- SEYMOUR, S. 2008. Fashionable Technology. Austria: SpringerWienNewYork. Fig.7 - NEYT, J and TROCHU, E. 2013. 20 trends for Fall/Winter 2013-2014. [online] Vogue. Available: http://en.vogue.fr/fashion/fashion-inspiration/diaporama/20trends-for-fall-winter-2013-2014/12208/image/736159. [Accessed 27 December 2013] Fig.8 - QUINN, B. 2012. Fashion Futures. London: Merrell Publishers

Fig.15 - NIXON, T. 2012. Tweet & wower: Nicole Scherzinger models UK’s first ever Twitter dress. [online] The Sun. Available: http://www.thesun.co.uk/sol/ homepage/showbiz/4623510/nicole-scherzinger-models-uks-first-ever-twitterdress.html. [Accessed 27 December 2013] Fig.16 - QUINN, B. 2012. Fashion Futures. London: Merrell Publishers Fig.17 - QUINN, B. 2012. Fashion Futures. London: Merrell Publishers Fig.18 - DESIGN BOOM. 2006. Hussein Chalayan Interview. [online] Design Boom. Available: http://www.designboom.com/interviews/designboom-interviewhussein-chalayan/. [Accessed 27 December 2013] Fig.19 - BALBO, L . 2013. Hussein Chalayan’s Transformer Runway Clothes. [online] Green Prophet. Available: http://www.greenprophet.com/2013/04/husseinchalayans-transformer-runway-clothes/. [Accessed 27 December 2013] Fig.20 - VEN HERPEN, I. Unknown. Iris Van Herpen. [online] Iris Van Herpen. Available: http://www.irisvanherpen.com/. [Accessed 27 December 2013] Fig.21 - LEBLOND, R . Unknown. Issey Miyake. [online] The Red List. Available: http://theredlist.fr/wiki-2-23-1249-1258-view-1970s-profile-issey-miyake-3.html. [Accessed 27 December 2013]

Fig.9 - VON PFETTEN, V. 2008. Speedo LZR Racer Making A Splash. [online] Huffington Post. Available: http://www.huffingtonpost.com/2008/04/11/speedolzr-racer-making-a_n_96308.html. [Accessed 27 December 2013]

Fig.22 & 23 - QUINN, B. 2012. Fashion Futures. London: Merrell Publishers

Fig.10 - INDIEGOGO. 2013. Sensoria Smart Sock Fitness Tracker. [online] Indiegogo. Available: http://www.indiegogo.com/projects/sensoria-smart-sock-fitnesstracker. [Accessed 27 December 2013]

Fig 26 & 27 - ROBINSON, A. 2013. Burberry Invitaton Mock Up [Own Image]

Fig 24 & 25 - QUINN, B. 2012. Fashion Futures. London: Merrell Publishers

Fig.11 - HICKS, J. 2012. Meat, metal, and code: Stelarc’s alternate anatomical architectures. [online] The Verge. Available: http://www.theverge. com/2012/9/14/3261078/meat-metal-and-code-stelarcs-alternate-anatomicalarchitectures. [Accessed 28 December 2013] Fig.12 - NIVALA, A. 2013. Agora Lecture (13 Aug. 2013) – Kevin Warwick: The Disappearing Human-Machine Divide. [online] Word Press. Available: http:// aboagora.wordpress.com/2013/01/25/agora-lecture-13-aug-2013-kevin-warwickthe-disappearing-human-machine-divide/. [Accessed 28 December 2013] Fig.13 - UNKNOWN. 2012. Body Hacking: Arrival of the Grinders. [online] Gizmodo. Available: http://www.gizmodo.co.uk/2012/10/body-hacking-arrivalof-the-grinders/. [Accessed 28 December 2013]

List of References

APEX, S. 2013. Smart Watches: The Start of the Wearable Technology Revolution. [online] Electronic News. Available at: http://www.electronicsnews.com.au/ features/smart-watches-the-start-of-the-wearable-technology [Accessed 16th December 2013]

HALL, J. 2011. Burberry lays on ‘mother of all parties’ to launch flagship Beijing store. [online] The Telegraph. Available at: http://www.telegraph.co.uk/finance/ newsbysector/retailandconsumer/8448841/Burberry-lays-on-mother-of-all-partiesto-launch-flagship-Beijing-store.html [Accessed 5th December 2013]

BALBO, L. 2013. Hussein Chalayan’s Transformer Runway Clothes. [online] Green Prophet. Available at: http://www.greenprophet.com/2013/04/hussein-chalayanstransformer-runway-clothes/ [Accessed 18th November 2013]

HICK, M. 2011. Burberry: The Best of British Digital Innovation. [online] The Huffington Post. Available at: http://www.huffingtonpost.co.uk/2011/09/07/ burberry-the-best-of-brit_n_951697.html [Accessed 6th December 2013]

HUANG, W. 2010. Shape memory materials. [online] Science Direct. Available at: http://www.sciencedirect.com/science/article/pii/S1369702110701280 [Accessed 18th November 2013]

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