Beth Lundberg Int e grat ing w e arable t e c hnol ogy and fashion de sign
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Electro Integrating wearable technology and fashion design
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contents 01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11.
INTRODUCTION
BACKGROUND
THEORETICAL RESEARCH
LITERATURE RESEARCH
CREATIVE RESEARCH
TRENDS FABRICS COLOURS EXPLORATION
DEVELOPMENT
RESOLUTION
SUMMARY PERSONAL OUTCOMES PROGRESSION REFERENCES ACKNOWLEDGEMENTS 5
one one INTRODUCTION
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“to generate ideas and possibilities for future design which use clothing as a method of encouraging women to be more active in their everyday lives, especially by using cycling as a method of transport.� - (Lundberg 2015)
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Figure 1.1
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Introduction The aim of the project was to develop wearable technology within fashion to be more appealing to the mass market for everyday use. The particular focus of this project was wearable technology in the form of functional active wear integrated with womens’ clothing for everyday wear, which can be worn throughout the day, therefore allowing and encouraging women to become more active throughout their day. This was inspired by time spent in the Netherlands experiencing the famous cycle culture. The obvious difference in the number of journeys made by bike in the Netherlands compared to the UK provoked an interest into what caused these contrasting approaches, especially in women, where the difference was greater.
The intended outcome of this project was to generate ideas and possibilities for future design which use clothing as a method of encouraging women to be more active in their everyday lives, especially by using cycling as a method of transport. Reasons for this include improving the mental and physical health of women by helping them connect with their environment, physical exercise, and also to reduce environmental damage from traffic pollution. This project will be carried out in the form of a womenswear fashion collection of 8 looks which will portray the ideas proposed, with the intention of being developed further into other areas of wearable technology.
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two two BACKGROUND
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“the concept of increasing safety, comfort and style for women when cycling in everyday life, to improve their everyday wellbeing� - (Lundberg 2015)
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Figure 2.2
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Figure 2.4
Background The project concept was developed after experiencing the famous ‘cycle culture’ of The Netherlands, while interning for Dutch fashion designers. With many benefits to cycling for transport, including cost, mental and physical health, practicality, environmental impact and leisure (BMA 2012), this led to questioning what barriers in the UK prevent more women from cycling as a main method of transport. Through research, issues were identified which discourage women in the UK from cycling more, including safety on the roads, style and appearance (Henry 2013). Of these issues, safety and style were were identified as areas which would be a focus of this project to develop a solution which could mean more women could adopt cycling as transport. Research showing bright colours and flashing lights increases
cyclists visibility (Kwan et al. 2002) led to the idea of using electric lights within the garments, to improve the wearers safety. The Tour de France: Grand Depart of 2014 raised awareness and interest in cycling among men and women of all ages, which has increased the demand for bikes, cycle clothing and accessories (Dunkley 2014). This project is a developed idea of a previous collection, based on the concept of increasing safety, comfort and style for women when cycling in everyday life, to improve their everyday wellbeing, which was exhibited at the Sheffield Hallam University Tour de France: Grand Depart exhibition in Sheffield in 2014. This provided a basis for this project in terms of initial research and ideas, although the previous collection used performance fabrics but did not venture into wearable technology. While interning for Dutch
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designer Marga Weimans, an active participation was taken in the design and construction process, which led to the development of new skills. These included experimental design methods working directly with materials such as clay, metal, plaster, foam and polyester (see figures 2.3 and 2.4), some of which are more commonly associated with architecture than fashion, which provoked interest into the cross disciplinary design practice. This led to an expansion of possibilities for this project with more freedom in material choice and a more experimental method of design, by working on the stand and sampling ideas in various materials as a start point as opposed to the previously used method of 2D design to initiate ideas. Testing materials without having an idea of how they would behave led to unexpected outcomes (See section 7: Exploration).
One of the aims of the project was to reduce environmental damage by reducing traffic pollution and also by extending a product’s life by being functional as well as stylish. This led to further exploration of how environmental damage can be reduced through thoughtful design practice. One of the key methods found was creating an emotional attachment for the wearer to the product, which encourages the wearer to keep the product for longer, reducing the need for more products and therefore reducing overconsumption (Spanne 2015). Consumers are often more emotionally connected to products which are marketed as having a story or history, such as hand crafted products made using a traditional method. This is due to western consumers desire for hand crafted products as a response to mass manufactured post-industrial goods (McGuirk 2011). In a report on a knitwear exhibition at the Fashion and Textile Museum, Walmsley-Johnson (2014) stated “Whether machineproduced for the general market or hand-knitted during wartime rationing, the garments on display give a sense of the emotional investment that went into their creation. That is something almost unique to knitwear… every step and stitch in construction is known, seen and touched,” showing the effect knitwear can have on both the creator and the consumer. In the last decade, knitting has dramatically increased in popularity as a social craft, with an estimated 7.5 millions knitters in the UK in 2014 (UKHKA 2015), and a 450% increase in the Google search for “knitting for beginners” between 2009 and 2014 (Daily Mail Reporter 2014). The recent knitting renaissance has encouraged women of all ages to take part in the craft, with knitting groups known as “Stitch’nBitch” being a platform for women to connect through craft. There are many reasons for the revival in knitting, such as being a response to social, political and technological changes, which lead back to the concept of nostalgia and a desire for the pre-industrial, with “young women knitting their way back to the world of their grandmothers” (Minahan and Wolfram Cox 2007). Knitting was used throughout this project as a method of production and as a design inspiration because of it’s ability to evoke emotion in the wearer, and also for the contrast of the traditional craft merged with the modern technology used in the designs, creating interest and uniqueness.
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Figure 2.6
Figure 2.5
“every step and stitch in construction is known, seen and touched” - Walmsley-Johnson (2014)
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Figure 2.7
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Figure 2.9
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Electroluminescent wire (EL wire) was identified as the technology to enable high-visibility, for the clothing to adapt to the wearers environment when in low light. The wire met the needs of the designs due to it’s portability, flexibility, wide range of colour, sizing, power and function options, availability and ease of use. Through research many options were found for potential future developments using electroluminescent wire which are later discussed in Section 3: Theoretical Research. After an initial idea was identified, the established design brief was to design and produce a concept collection of wearable technology integrated into fashion to show developments for high-visibility womenswear clothing, with knitting techiques as a method of production. The aim of the concept collection was to portray the idea and future possibilities, which could then be translated into wearable clothing to be marketed towards target customers.
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three three THEORETICAL RESEARCH
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“Visibility aids have the potential to increase visibility and enable drivers to detect pedestrians and cyclists earlier� - (Kwan et al. 2002)
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Statistics according to Sustrans research (2013)
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Theoretical research As the aim of this project was to develop a collection which could encourage women to cycle more for transport, the reasons behind why more women do not currently cycle had to be investigated. Research was also carried out into why more women do not use wearable technology products which are currently available in the market. Sustrans research showed only 4% of women in the UK cycle at least once a week, although 43% have access to a bike (Henry 2013). To find out why more women did not cycle, Sustrans conducted a survey, of which the results showed that “not feeling safe was the biggest concern women had about cycling (20%)” (Henry 2013). Other concerns included appearance and fitness levels. This research indicates a demand for products to help solve these issues. Two of these issues, safety and appearance, are the focus of this collection. Research was conducted into what can be done to improve cyclists safety. A study by Kwan et al. (2002) found that a third of road users who are killed or seriously injured in road traffic crashes are cyclists and pedestrians, and one of the reasons for this is late detection of the road user by drivers. “Visibility aids have the potential to increase visibility and enable drivers to detect pedestrians and cyclists earlier” (Kwan et al. 2002). This suggests that development for visibility aids and high visibility clothing could have a direct effect on the safety of cyclists and pedestrians on the road. Particularly fluorescent yellow, orange and red were found to improve detection in daylight, and flashing lights and retroreflective materials in red and yellow improve night time detection (Kwan et al. 2002).
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Figure 3.1
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Tweeting shoe and USB necklace: examples of wearable technology designed for women which is too much of a gimmick to appeal to women (Arthur 2014).
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Figure 3.3
When researching why more women do not buy the wearable tech products currently available, it was apparent that wearable technology is predominantly designed by men, which results in products which are aimed more at male customers (NPR 2014). Arthur (2014) suggests that tech companies should be recruiting more female designers, which would lead to the products being more directed towards women, but that the issue may also be in that “design hasn’t been a consideration for wearables full stop so far, rather an afterthought to the technology”. Current wearable technology designed for women is often a “gimmick” and unappealing to women (Arthur 2014).
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shu design futures To learn more about using technology within clothing, a meeting was set up with Mark Philips from the Sheffield Hallam University Design Futures research centre. Topics discussed included future development potential for the project and how to use the EL wire. Ideas for future development included advancing the designs technological aspect by programming the technology used in the garments to become responsive to the wearer and to the environment, using the LilyPad Arduino. This led to further research and is explored in Section 6: Literature Research. It was found that companies in Sheffield have shown interest in redesigning uniforms for women which are intended to be high visibly safety clothing, to be more flattering and fashion forward. This led to further confirmation that developing wearable technology with womens’ safety and style as a focus is meeting a current and growing demand.
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four four LITERATURE RESEARCH
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“There are endless possibilities in terms of functionality as wearable technology continues to evolve, but it needs to feel useful and worthwhile. It can’t just be a gimmick if women are going to buy into it.” - (Arthur 2014)
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Literature Research
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the quantified self The Quantified self movement is the idea of a person using technology to track their own data, including sleeping patterns, exercise and caffeine intake, with the idea that this can improve their quality of life, by being more aware and in touch with their own self (Economist 2012). This is most commonly done through portable technology such as smartphones, but is being increasingly done through wearable technology, such as wrist bands and predicted to move to smart garments (Gartner 2014).
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Figure 4.4
Statistics from Gartner (2014) show smart clothing sales increasing from 0.1m units in 2014 to 26 million in 2016.
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Figure 4.5
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wearable technology and fashion Wearable technology has previously been introduced into fashion and clothing for aesthetic purposes and as a novelty, such as colour changing dresses and club wear which lights flash in time to music. The purpose of these designs is to appear aesthetically pleasing and show a statement of the wearer being on trend and up to date through technology. Examples of these garments are the ‘Thunderstorm Dress’ by Rainbow Winters, which uses sound reactive light panels to display lightning patterns on a dress, for a ‘thunderstorm’ effect in loud noise environments
(Futuremorph 2015). Alexander Wang’s Autumn Winter 2014 collection used heat sensitive fabrics, which changed colour when exposed to heat (Milligan 2014).
clothing, but currently may not be using the technology available to best suit the wearers needs.
This project aimed to combine the two uses of technology described Arthur (2014) stated “There previously, to develop a are endless possibilities collection with the design in terms of functionality aesthetics enhanced by the as wearable technology technology which could continues to evolve, but improve the wearers quality it needs to feel useful and of life. For this project, worthwhile. It can’t just basic technology used be a gimmick if women was simple, due to time are going to buy into it.” restrictions, with the intent These examples of products of continuing this concept exhibit the technological in further developments for advances which have the future collections. potential to develop into practical fashion forward
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developing responsive clothing From the discussion with Mark Philips from SHU Design Futures, one development possibility was the LilyPad Arduino. This is a small programmable computer which can be sewn onto textiles using conductive thread, so garments can become interactive. The computer can be programmed to react elements such as light, heat and sound, and can be programmed to respond by changing the garments colour, enabling lights or speakers amongst other possibilities (LilyPadArduino 2015). A existing project using the LilyPad Arduino include the ‘Climate Dress’ by Diffus Design (Diffus 2015), which uses the LilyPad Arduino to react to the CO2 concentration in the air by changing slow light pulsations to short and hectic patterns. This transforms the delicately embroidered dress from being a purely aesthetic design, to being informative and functional, by raising awareness and appealing to the human nature.
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Figure 4.7.1
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f ive f ive CREATIVE RESEARCH
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“The EL wire had the desired effect for increased visibility of the garments while enhancing aesthetics� - (Lundberg 2015)
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Figure 5.3
Figure 5.1 and 5.2
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Current artists exploring contemporary knit were researched to gain insight into existing design work, to gain inspiration for techniques. Artists researched include Nanna van Blaaderen (figure 5.1 and 5.2), Fay McCaul (figure 5.3 and 5.4) and Yulia Urano (figure 5.5). Nanna van Blaaderen, a dutch artists, uses knitting techniques to explore the relationship between the body with fabrics, and the contradiction of protection and vulnerability (Blaaderen 2015). Fay McCaul is a textile artists specialising in interior installations, and uses traditional techniques combined with modern materials. Her work experiments with movement and light, and includes light art created from EL wire (McCaul 2012).
Figure 5.4
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Figure 5.5
using EL wire Following the proposed idea to use electroluminescent wire in the designs, it was essential to research proper usage to ensure the most effective results, and to find existing products which could provide ideas and inspiration into how to incorporate this material into wearable garments. To learn to solder the EL wire to the power inverters correctly, assistance was found through the SHU design lab and further research online. The EL wire had the desired effect for increased visibility of the garments while enhancing aesthetics, and would be considered for future design projects. This could be taken further in many ways using variations of the technology, such as different wire thicknesses, and using EL panels as opposed to wire, which could create interesting effects.
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Figure 5.6.1
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six six TRENDS FABRICS COLOURS
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Sports fabrics have also recently become a major trend within couture and main stream fashion and are predicted to be a trend for SS16 - (Dewulf 2015)
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Figure 6.1.5 Figure 6.1.8
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Trend Research
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Research on trend forecasting website WGSN, shows predicted trends for SS16 textile direction include sports spacer mesh and 3D spacer, for their lightweight and breathable properties (Hendry 2014). Macro trend Deep Summer SS16 shows colour ways of dark blues and greens with accent colours of yellow and orange, inspired by the depths of the ocean.
Fabric Sourcing The fabrics sourced for the collection are typically used in sportswear, so have the necessary properties for clothes intended for cycling, such as being lightweight, waterproof and breathable. These fabrics are realistic representations of what would be used for ‘wearable’ garments filtered down from this collection. These fabrics also behave in the desired way for the structure and shape of the garments; the lightweight 3D Spacer Air Mesh is ideal for structural pieces, as it holds weightless shapes, and can be manipulated in many ways. Sports fabrics have also recently become a major trend within couture and main stream fashion and are predicted to be a trend for SS16 (Dewulf 2015).
Figure 6.2
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Figure 6.3.1
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bioluminescent Figure 6.3.4
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Colour story Colours were chosen based on the need for bright, easily detectable colours, such as orange and yellow, as they are highly visible in daylight (Kwan et al. 2002).
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seven seven EXPLORATION
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“The contrast of traditional techniques and modern materials was intended to create unique and interesting designs.� - (Lundberg 2015)
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Idea generation Innovative knitwear experiments Knitting techniques were used as a method of production and as inspiration, combining traditional handcraft techniques with new technology. The contrast of traditional techniques and modern materials was intended to create unique and interesting designs. To ensure the designs were contemporary and to exaggerate the concept further, knitting techniques were explored and developed.
knitting, many tests were done using a wide range of materials, including mesh, neoprene and jersey as a yarn for the knitting with EL wire used throughout, knitting in with the yarn, and weaving through after for different effects. The materials were used as flat strips and sewn into tubes, using many different widths. Testing and experimenting developed from using traditional knitting needles, to improvised needles from broom handles, cardboard tubes and dowel rods, varying stitches including ‘Viking Knit’, i-cord, garter, stockinnette, and purl stitches.
Following research into existing knit artists and traditional knitting techniques, experimentation was necessary to develop a technique which would exaggerate and update the For the larger scale knitting, craft. broom handles and cardboard tubes proved difficult to work To develop the exaggerated with due to size and weight,
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leading to further research and testing. Through online research, the ‘arm knitting’ method was found, which was successful when tested as it produced the desired result, and the ‘yarn’ was more easily controlled. A combination of the tested techniques were used to produce the variety of styles in the collection, with the more ‘wearable’ garments being knitted on dowel rods with thin strips of jersey, and the more avant garde pieces made using arm knitting techniques in thick tubes of jersey filled with polyester filling. The EL wire was threaded through the knitted pieces to accent the patterns in the fabric.
structure The idea of knit was also used as inspiration for the shape, structure and print of the fabric, so as to be a continuous theme throughout all aspects of the collection. The shape of a single stitch was used as inspiration for the shapes of the garments, developed by designing a single pattern piece in the shape of a stitch which was used for the majority of the garments, altered slightly from one garment to another to make a variety of garments. The designs using the stitch shaped pattern piece were outlines in EL wire, by threading it through mesh piping in the seams to accent the shape.
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foam stitch shape used to test maximum options for shapes using variations on same pattern
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print development A print was developed using fabric cut into shapes of rows of knitting, which was photographed and edited in Photoshop to generate an image suitable for print. This was screen printed to keep the handcrafted element of the design process in the production. The pattern used for the print could be used in various ways in future developments of the project, including using reactive thread to embroider the pattern onto the fabric, which would then make the decorative element of the fabric become reactive, using LEDs across the fabric, which could be controlled by the LilyPad Arduino.
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eight eight DEVELOPMENT
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“craft and technology can coexist... opposite methodologies can work together to create innovation� - (crysalis-network 2012)
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drafting Using the research and tested ideas, designs were developed through sketching and moulaging. This stage generated many new ideas and techniques. The shape of a knit stitch was used throughout the designs as a basic shape, and through moulage, many new possibilities were found to incorporate the shape. The knitting techniques were combined with the structure of the knit stitch shape in various ways to find the most appropriate technique for each structure. The most successful designs were taken forward to next stage, and developed further.
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Refining The designs were toiled and sampled to refine the ideas, and make changes where necessary. This stage proved to be essential as it resulted in new ideas and variations on designs. This stage was also crucial for selecting fabrics, as particular fabrics were better for different designs, due to shape and structure desired in some, and stretch in others. The use of EL wire was also refined in this stage, with details such as securing the battery pack in the garment and ensuring correct placement for visibility being tested and altered.
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Testing bright and low light effects of EL wire in garments (above)
production After identifying selected looks which worked well as a line up, the toiles and patterns were used to aid the production of the garments. Throughout the process, looks were changed and garments were added, to ensure the collection clearly showed the concept, and how it would translate to the commercial market. For example, a dress knitted in thinner jersey tubes was made to contrast the oversize knitting in thick tubes, which also shows the possibilities for developing into a more wearable range.
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Contrasting effects of oversize arm-knitting compared to smaller knitting using dowel rods as needles.
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nine nine RESOLUTION
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“a range plan was put together including avant garde looks, and some more simple wearable looks which could be translated to the mass market for the end purpose of the collection concept.� - (Lundberg 2015)
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Line up
After experimental design research and testing was developed into garments, a range plan was put together including avant garde looks, and some more simple wearable looks which could be translated to the mass market for the end purpose of the collection concept. Fabrics used were mesh, neoprene and jersey, which have the necessary properties for the design aesthetic and for the end purpose of a wearable translation of the collection, designed to be worn when the wearer is active. The final line up is a collection of 8 looks. The silhouettes are inspired by knitting stitches, with the theme running throughout all looks. The range includes 14 individual garments, including an oversized coat, a jacket, 4 dresses, a skirt, a top, an oversized neckpiece, and a bolero.
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ten ten SUMMARY PERSONAL OUTCOMES PROGRESSION
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“collaboration with specialists in technology would be considered to use the technology to it’s full potential” - (Lundberg 2015)
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summary The design aim was to design a collection which would encourage women to use cycling as a mode of transport more often. After research in the issues which are currently barriers to this, a high visibility collection was proposed. The concept was to develop a way for women to wear high visibility clothing in a stylish way, by designing an innovative collection which would combine modern technology with contemporary fashion to enhance the design aesthetic. After researching which materials were accessible with the time and equipment available for this project, EL wire was chosen as the technology to increase visibility. A successful collection was designed and produced which achieved the starting design aim, and shows the concept in way which will draw attention to the idea and accent the use of the EL wire detail.
Personal outcomes Throughout the research and design process, knowledge and skills were gained in various areas. Abstract knitting skills were learned and developed, and construction skills improved. El wire had not previously been used in personal design projects, so soldering and connecting the wire was a new area of design to explore. This has created an interest in other design disciplines which could be used for future design projects. To use more advanced technical features in designs, collaboration with specialists in technology would be considered to use the technology to it’s full potential and develop clothing with more function to compliment the design.
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progression As this project was a concept collection, the next stage of developing this project is to translate the ideas into a collection of wearable garments which will appeal to the mass market and can have a literal impact of womens’ everyday lives. Experimenting with developing reactive clothing with the use of technology such as the Lilypad Arduino will further the functionality of the clothing. Using retroreflective materials more than EL wire would also be a more cost efficient method of translating the concept to wearable clothing. One way of incorporating this with the knit theme is the use of yarn with retroreflective threads running through. This is a more subtle option for high-visibility fashion. A wearable collection will be developed based on this collection, which will be designed for the end customer to wear, after using this project as an informative collection to gain interest in the idea.
Potential for development of wearable collection: Using wool yarn with retroreflective threads to knit cuffs, collars and waistband of sports style garments and accessories such as gloves and scarves.
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eleven eleven REFERENCES ACKNOWLEDGEMENTS
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Image References Figure 1.1. Pseudomorphs by Anouk Wipprecht. [Photograph] At: http://fashioningtech.com/profiles/blogs/pretty-smarttextiles-2011-at Figure 1.2. The Skin Probe Dresses – Bubelle by Lucy McRae for Phillips (2006) [Photograph] At: http://www.body-pixel. com/2010/05/05/lucy-mcrae-transforming-bodies-and-materials-gallery/ Figure 2.1. The Beautiful People Of Amsterdam. [Photograph] At: http://lightaholic.com/the-beautiful-people-of-amsterdamstreet-style-amsterdam-street-fashion-amsterdam/ Figure 2.2. Dutch woman with bike. [Photograph] At: http://ohthatsyou.com/sites/default/files/styles/review_image/public/ filePv0m99 Figure 2.3. Lundberg, B. (2014) [Photograph] In possession of: The author: Lundberg, B Figure 2.4. Lundberg, B. (2014) [Photograph] In possession of: The author: Lundberg, B Figure 2.5. Westlake, P. [Photograph] At: http://www.littledandelion.com/gallery Figure 2.6. Westlake, P. [Photograph] At: http://www.littledandelion.com/gallery Figure 2.7. Vega Wang’s Electroluminescent Fashion Collection Alpha Lyrae. [Photograph] At: http://thecreatorsproject.vice. com/en_uk/blog/experience-vega-zaishi-wangs-electroluminescent-fashion-collection-alpha-lyrae Figure 2.8. Glow Bike. [Photograph] At: http://lifehacker.com/turn-your-bike-into-a-safe-at-night-tron-cycle-withel-1561959495 Figure 2.9. Knight, J. [Photograph] At: http://www.rainbowwinters.com/project4.html Figure 3.1. Tweeting Shoe. [Photograph] At: http://www.telegraph.co.uk/women/womens-life/10569007/Why-is-wearabletechnology-so-damn-ugly.html Figure 3.2. USB Necklace. [Photograph] At: http://www.telegraph.co.uk/women/womens-life/10569007/Why-is-wearabletechnology-so-damn-ugly.html Figure 3.3. The Pebble. [Photograph] At: http://www.telegraph.co.uk/women/womens-life/10569007/Why-is-wearabletechnology-so-damn-ugly.html Figure 3.4. ProViz Women’s Electro-Luminescent Waterproof Jacket. [Photograph] At: http://www.velovixen.com/clothing/reflective/ proviz-electro-luminescent-waterproof-jacket Figure 3.5. The USTEK “Night Armor” Electroluminescent Safety Vest. [Photograph] At: http://www.webbikeworld.com/r4/ustekelectroluminescent-vest/ Figure 4.1. Muse: The Brain Sensing Headband. [Photograph] At: http://www.choosemuse.com/harvard/?utm_ campaign=ChooseMuse_FB_Holiday_Ads&utm_medium=fb-post&utm_source=cadreon&utm_content=03B-HarvardLearnMore&utm_term=sponsored Figure 4.2. Nike’s Fuelband. [Photograph]. At: http://www.bbc.com/future/story/20130102-self-track-route-to-a-better-life Figure 4.3. Measurement wristbands. [Photograph]. At: http://www.texasenterprise.utexas.edu/2013/05/09/innovation/ quantified-self-beginners-guide-healthcare Figure 4.4. Smart garment sales chart. [Graph] In possession of: The author: Lundberg, B. Statistcs from: http://www.gartner. com/newsroom/id/2913318
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Figure 4.5. Lo, Sing and Ord, Cereinyn. Thunderstorm Dress [Photograph] At: http://www.rainbowwinters.com/project2.html Figure 4.6. Alexander Wang’s Heat Sensitive Collection. [Photograph] At: http://www.vogue.co.uk/news/2014/02/19/alexanderwang-heat-reactive-coats-outfits-change-colour Figure 4.7.1. Climate Dress. (2009) [Photograph] At: http://www.diffus.dk/portfolio/climate-dress/ Figure 4.7.2. Climate Dress. (2009) [Photograph] At: http://www.diffus.dk/portfolio/climate-dress/ Figure 4.7.3. Climate Dress. (2009) [Photograph] At: http://www.diffus.dk/portfolio/climate-dress/ Figure 4.8. LilyPad Arduino. [Photograph] At: http://lilypadarduino.org/ Figure 5.1. More or Less 1/6. [Photograph] At: http://www.nannavanblaaderen.com/ Figure 5.2. More or Less 5/6. [Photograph] At: http://www.nannavanblaaderen.com/ Figure 5.3. Bubble Light. [Photograph] At: http://www.faymccaul.com/products/bubble.html Figure 5.4. Bubble Light. [Photograph] At: http://www.faymccaul.com/products/bubble.html Figure 5.5. Wilson, Tal. (2009) Artist Yulie Urano models Soft, made of cotton piping. [Photograph] At: http://craftcouncil.org/ magazine/article/loose-knit-close-ties Figure 5.6.1. Lundberg, B. (2015) [Photograph] In possession of: The author: Lundberg, B Figure 5.6.2. Lundberg, B. (2015) [Photograph] In possession of: The author: Lundberg, B Figure 5.6.3. Lundberg, B. (2015) [Photograph] In possession of: The author: Lundberg, B Figure 6.1.1-Figure 6.1.9. Deep Summer Trend Board. [Photograph] Found on WGSN, At: http://library.shu.ac.uk/ Figure 6.2. Lundberg, B. (2015) [Photograph] In possession of: The author: Lundberg Figure 6.3.1-Figure 6.3.6. [Photograph] At: http://patternity.org/
acknowledgements Amy Parsons Photography Boss Model Management
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