TRANSFORM CONTEXTUAL SYNOPSIS TABBY LAZENBURY
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CONTENTS 1.
BRIEF (p4)
2. ➢ ➢
CONCEPT: TRANSFORM (p5) PROJECT AIMS (p6)
3. ➢
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CONTEXT: ARCHITECTURAL INTERSECTION (p7-8) LIGHT AND MOVEMENT (p9-10) ORIGAMI: SHOCK ABSORENCY (p11-12) ORIGAMI: COLLAPSIBILITY AND TRANFORMATIVE TECHNICAL TEXTILES (p13-14) TROMPE L’OEIL (p15-16)
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MATERIAL INNOVATION
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5. MARKET ➢ TREND RESEARCH (p19-20) ➢ PRODUCT RESEARCH (p21-22) ➢ CUSTOMER PROFILES (p23-24) 6.
FINAL COLLECTION HIGHLIGHTS & VISUALISATIONS (p25-37)
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EVALUATION (p38)
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LIST OF ILLUSTRATIONS (p39-41)
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QUOTATION REFERNCES AND BIBLIOGRAPGHY (p42)
(p17-18)
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BRIEF
TRANSFORM will explore folded geometric structures that can expand, contract and flex to form sculptural and adaptable textiles. Using inspiration from origami, architecture and fashion, I will be considering materials that can hold their pleated shape. This project will be led heavily by a process of material investigation in order to find out which fibres can successfully hold crisp folds. Through understanding the weight and structure of materials, I intend to develop a sportswear range in phase one with a focus on responding to the puma competition brief. In phase two of the project, to compliment the pleated textiles, I will continue working toward this application, creating digital ‘tromp l’oeil’ prints and digital embroidery engineered to the body. Architectural photography will inform shape within my designs, playing with facets, stiffeners and different articulated structures. Inspiration will be drawn from sculptures seen at the Tate and Saatchi gallery. Japanese and Belgian designers will inspire my manipulation of materials such as Miyake’s intricate pleat setting and transformative steam stretch technologies. I will investigate how materials can transform between dimensions by a process of folding and laser cutting. Exploring the notion of deconstructed fashion within my DCC will aid my studio practice, looking at the ways three dimensional forms can be flattened, building on the idea of ‘trompe l’oeil’, or deceptions of the eye, making three dimensional spaces appear two dimensional and vice versa. TRANSFORM will tackle the element of sustainability using techniques such as digital print, laser cutting and multi-head, which use smarter technologies and less energy to reduce environmental impacts. Designing good quality products with multi-functional elements, increases product longevity. With a focus on road safety, I will achieve this by incorporating padded protection systems to reduce impact in accidents and by using reflective elements to increase visibility. 5
CONCEPT: TRANSFORM Fig 3; Origami rooftop Japan.
Fig 1; Nuno Textiles close up
Fig 2; Collapsible bag design
Fig 4; Interactive dance projection
FOLDED ‘Hakanai’ is a haiku dance performance taking place in a cube of moving images projected live by a digital performer.
Fig 7; Elisa Strozyk. Wooden textiles. Photo by Sebastian Neeb
PLEAT Hope Tree is a space in which paper has been transformed from a simple paper sheet to a complex walk through space.
Fig 6; Mathew Shillian – Misfold solo show, 2007 Fig 5; Hope Tree Installation Japan
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PROJECT AIMS: TRANSFORM aims to be inspired by sculptural and adaptable textiles informed by origami, architecture and innovative material technologies. This project will build a dynamic sportswear collection to showcase engineered ‘trompe l’oeil’ prints and digital embroideries manipulated to enhance the body. Led by the need for safety when running, cycling and training outdoors, these pieces include reflective elements for visibility along with padded protection systems and laser cut ventilation adding to the functionality, flexibility and strength of my collection.
KEY ASPECTS EXPLORED WITHIN TRANSFORM: ➢ ➢ ➢ ➢ ➢ ➢
Collapsibility Adaptability Ventilation Reflection Engineered design for the body Inspired by architectural forms and origami
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ARCHITECTURAL INTERSECTION: Fig 9; Zaha Hadid’s opera house.
Fig 8; Interior architecture by Scott Cohen’s.
Fig 3; Origami rooftop Japan.
Fig 10; Embossed shapes in Denari’s rendered architecture.
Own photography of buildings and interior architecture in London.
‘Incorporating a sense of movement into each building is seen in dynamic interior spaces and sensual exterior surfaces that shift, curve, bend, fold, and unfold, challenging the conventional idea that architecture is a contained orthogonal form or box.’ Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson.
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SUMMARY: In this project I have drawn visual inspiration from architectural forms as I am interested in the way light moves through linear structures, and the intersection of structures forming buildings and spaces. The book ‘Skin and Bones’ by Hodge was a significant starting point to this project as it allowed me to see parallel practices in fashion and architecture sparking ideas for material and form. For example, the use of glossy white surfaces towering the scale of interior architecture in Scott Cohen’s design provides a contemporary sense of innovation. This has inspired my collection in using glossy finishes such as reflective fabric to give a modernised sporty aesthetic. Triangular structures of the overhead windows, slanted angles and curved slopes are juxtaposed against one another in Zaha Hadid’s opera house. These windows of light and embossed shapes in Denari’s renders have inspired quilted embroidery and ventilated panels to echo muscular body contours.
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LIGHT AND MOVEMENT: Fig 11; Chryssa, Study of Gates No. 4 1967. Tate, London
Fig 13; Steam stretch material innovation. Issey Miyake
Own photography in South Africa using slow shutter speed at night
VISABILITY
REFLECT
Fig 5; Hope Tree Installation Japan
Fig 12; Maxxi National Centre of contemporary Arts. Rome. 1997-2007
ILLUMINATE
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SUMMARY: As a designer, I am very much drawn to the idea of incorporating light within my work as it adds a dynamic quality to highlight form. By projecting light through cut shapes and materials, it can bring a sense of energy to the design, making spaces more eye catching. The installation ‘Hope Tree’ (fig 5) uses light in a clever way to project through the openings in cut parts evoking a sense of energy combined with a minimalistic colour scheme. These are qualities that my collection brings. Intersection of geometric lines and interaction of light between structures are important points of reference for my collection. Architects at the Maxxi Nation Centre of Contemporary Arts use dramatic illuminations for their works to highlight certain focal points within their designs (fig 12). I have used this concept to develop reflective elements through laser cut materials highlighting a sense of movement. In my visual research I have captured movement using slow stutter speed in low light conditions. These photographs have contributed to my collection through digital prints applied to trainers evoking a feeling of being fast and dynamic.
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ORIGAMI: SHOCK ABSORBENCY Fig 14; The House that shape shifts. Barcelona’s Institute for Advanced Architecture
Fig 15
MANIPULATE The house that SHAPESHIFTS depending on the temperature
TEMPERATURE DEPENDENT STRUCTURES Fig 16
Fig 20 Fig 18
Fig 17; Adidas Futurecraft and ‘Carbon’ technology
Fig 19; Nike News. 2019. Auxetic trainer sole.
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SUMMARY: Innovative material technologies have made way for the interaction between science and technology. For example, researchers at the Barcelona Institute of Advanced Architecture designed a shape changing structure based on origami that expands and contracts depending on the temperature. Studies by Adidas have shown how the foot expands and contracts upon impact with and lift off from the ground. Origami inspired structures can mimic how the body and foot react to force and can therefore account for changes in foot size, making it perfect for runners. These auxetics origami structures may be useful in applications such as body armour, knee and elbow pads, and shock absorbing material. Here the structure can be seen applied to the base of Nike trainers. The ‘Adidas Futurecraft’ style (fig 18) has been a motivator for reducing textile waste through 3D printing. In line with the rise of mono-materials and whole garment technology, this technique uses 3D software to engineer shock absorbent soles to support foot movement and effectively return energy. This research has inspired my own development of 3D printed trainer soles combining triangular geometrics with contoured linear forms.
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ORIGAMI: COLLAPSIBILITY AND TRANFORMATIVE TECHNICAL TEXTILES Fig 21; Max Schath e-motion hood with shape memory alloys
‘When designing the collections for the future, we will have to pay more attention to the customer’s demand for comfort and functionality...’
Fig 24; Collapsible bag design
[Future Textile magazine: 2019. Issue 6: 25]
Fig 22; The Sound Cave
Fig 23; Collapsible paper helmet.
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SUMMARY: Exploring possibilities of transformation, I have researched ideas surrounding collapsibility and shape adapting structures. Designing products that have collapsible capabilities give them additional space saving properties, which in turn increase their transportability. Collapsible structures can often adapt to fit the shape of the wearer more easily, making them more accessible to a wider range of sizes. The Dyson Award winning ‘EcoHelmet’ for cyclists (fig 23) combines space saving qualities with impact protection due its concertina honeycomb structure. Max Schath designed a jacket which incorporates shape memory alloys (fig 21), allowing the hood to change shape and return to it’s original form by detecting the human's emotional state. The geometry of the hood is modified to view the changes in the wearers feelings. Having an additional feature such as this with my collection can add to the products’ functionality thus meeting the needs of the future. Architectural concepts such as the ‘Sound Cave’ (fig 22) has inspired my collapsible hood design and thinking about how materials might open up with panels allowing for extra ranges of movement and breathability.
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TROMPE L’OEIL:
Fig 26; Bridget Riley exhibition. Southbank. Hayward Gallery, London
Fig 25; Stockman Haute Couture Busts
(Own work) Projection onto mannequin
Fig 27; Interactive dance projection 3D mapping.
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SUMMARY: I’m interested in the overarching concept of trompe l’oeil, or ‘trick of the eye’. This concept has been explored in my own visual research of scanning origami in the photocopier to make two dimensional prints look three dimensional. This concept works alongside my engineered laser cuts and multi-head pieces within the collection to create graphic impact. I visited Bridget Riley’s exhibition at the Hayward Gallery in London, and was captivated by her use of simple geometry of line, shape and tonal gradients which created an optical illusion and sense of movement and depth within her work. Riley’s drawings inspired my selection of materials as they reminded me of sports power mesh and engineered prints to fit the body. Stockman’s haute couture busts (fig 25) also inspired the idea of working with the underlying muscular groups of the body to flatter form. Projecting my graphics onto mannequins helped me to explore placement and scale.
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MATERIAL INNOVATION Fig 29; MIT Media Lab Biologic ventilation system.
Fig 30; Spacer mesh
Fig 28; Termofomati embossed automotive fabric
Fig 33; Adidas by Stella McCartney
Fig 32; Quilted jacket
Fig 31; Steam stretch material innovation. Issey Miyake
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SUMMARY: Fibre innovations are essential for the development of functionality in sportwear design. Warp knitted spacer mesh (fig 30) is used my collection as it is ultralightweight and highly breathable, making it ideal for weightless silhouettes and footwear. Materials that respond to temperature and proactively manage heat and moisture are a key innovation in fibres. Biologic by MIT Media Lab in collaboration with sportswear brand New Balance innovates a synthetic bio-skin (fig 29) which reacts to body heat and sweat, causing flaps around heat zones to peel back, enabling sweat to evaporate and cool down the body. This heat mapping technology has inspired my collection to incorporate laser cut ventilation panels for increased breathability. The ‘Superfabric’ by ’Termofomati’ (fig 28) combines high tensile and abrasion strength, for commercial design applications in both fashion and interiors. The embossed structure has influenced my use of Padloft creating a raised three dimensional and transformative structure to my digitalised embroideries.
KEY FUNCTIONS: ➢ ➢ ➢ ➢
Thermal regulation Breathability Water resistance Padded protection
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MARKET: TREND RESEARCH
Fig 34; WGSN Trend Boards
Fig 35; Samsung monitoring athlete technology
Fig 39
Fig 36
Fig 37
Fig 38
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SUMMARY: To support my high tech sportwear collection, I have researched trend predictions to inspire my own use of materials and techniques. ‘Origami geometrics’ are explored in sportswear brand ‘Patronace’ (fig 39) through their use of a textile membrane which forms a breathable, moisture controlling, water repellent layer. The printed combs form a protective structure in case of a fall. Roam Robotics provide wearable design that replicates the wearer's movement to absorb shock and provide protection. Samsung’s bio-wearable technology (fig 35) offers solutions to athletes training gear with inbuilt sensors which deliver a real-time look at the wearer's position on the coach’s smartphone. The coach is then able to send real-time vibrations to the suit, suggesting that the wearer may need to alter their performance or position. Brands that offer innovative material solutions for the consumer in turn increase product longevity due to their high quality and multi-functionality. I hope to meet these needs in my collection through the use of reflective materials and origami inspired protection to increase road safety.
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MARKET: PRODUCT RESEARCH Fig 40; Skynfeel long jump suit
Fig 41; MIT Media Lab Biologic ventilation system.
Fig 42; Nike Performance trainers. 2020
Fig 43; Nike trainer deconstruction Fig 45; Nike Womens DriFit Running Tights with Compression Fig 44; QR code technology in future automated vehicle cyclist recognition.
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SUMMARY: Deconstructing garments evolved to become an important part of my understanding of pattern pieces engineered for a specific product, whether that be a trainer, cycling top or pair of leggings. This research inspired my development of products and creation of technical specifications to use as a vehicle for my textile surface designs. Key references included Pauline van Dongen’s Skynfeel long jump suit (fig 40) made using polyisoprene material to hug the figure creating an aerodynamic design. Flaps at the arms are designed to open during the jump to create lift flying further through the air. This design feature inspired my own use of laser cutting to increase air circulation during movement for cyclists. In watching a documentary by Zoe Laughlin on the making of a trainer, I was able to understand the deconstructed parts that make up a trainer (fig 43) and the relationship between it’s two and three dimensional forms. This in turn provided a knowledge to apply to technical drawings and later develop raised textures in 3D prints.
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MARKET: CUSTOMER PROFILES
Fig 46; Cadence cycling Collection
Fig 48; ‘Rapha’ cycling wear
Customer profile 1: Male, aged 20-40 with interests in cycling and commuting to work. Very active and cares about both style and functionality of product. High end market, looking at a cycling top at a range of between £80-£100.
Fig 47; ‘Maap’ cycling wear
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Customer profile 2: Female aged 20-40. Active and conscious of wanting the benefits of both style and function. Wanting high end products that are good quality and feel invigorating to wear and encourage them to commute in low light conditions. Products are adaptable for multiple activities from cycling to yoga.
Fig 49; Women’s Under Amour Hi-Rise Luminous Legging. The unique glow in the dark leggings stand out so cyclists can be seen in the dark.
Fig 50; Yoga Dancer’s Pose
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DESIGN COLLECTION
LASER CUT VENTILATION
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BODY MAPPING EMBROIDERY
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DESIGN COLLECTION
SHOCK ABSORBENCY
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3D PRINTING
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DESIGN COLLECTION
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DESIGN COLLECTION
TRANSFORMATION
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COLLAPSIBILITY
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DESIGN COLLECTION TROMPE L’OEIL DIGITAL PRINT
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PROJECT EVALUATION To conclude, I am extremely proud of my project which has evolved throughout the year. My key design aim was to produce a dynamic sportswear collection inspired by sculptural and adaptable textiles informed by origami, architecture and innovative material technologies. I believe I have achieved these goals through my concept and design work. Following a 3 month internship in graphic and apparel design at Pentland Brands working for Speedo last summer, I fell in love with contour design and creating dynamic engineered prints to enhance the body. I have focused my research and understanding in textiles, technology and design applications. This is in line with my future career aspirations, as my goal is to work within the sportswear and materials innovation industry. I feel that my graphic geometric style lends itself well to this area of design. Based on geometry and origami, my work has evolved to include digital prints from photographs of folded structures, embroideries designed to enable and enhance folding, and laser cutting layers of materials to ventilate and expose colour and shape. Due to the global pandemic, I was faced with the setback of having to work from home during the final stages of the project meaning that I was not able to produce as many physical multi-head samples as I initially intended; however I feel that adapting to the circumstances has made me grow as a designer, developing accomplished CAD skills which will be invaluable to my future career prospects. It has also offered me the opportunity to construct a number of refined prototype products working with digitally printed fabrics and experimenting with origami, notably the folding rucksack, crop top and leggings. Collaboration with the NTU Product Design technician has led to the development of a 3D printed sole for a radical trainer collection with which I am particularly pleased. Given time and access to the facilities, I would realise my range of multi-head stitch-outs, manipulating them to create physical folds and pleats to push the possibilities of the collection through further digital embroidery. I have achieved both functionality and style through my collection. By researching the key elements of demand in sportswear such as impact protection and visibility on the roads, I have a collection which is commercially viable and cutting edge, offering a new way for sportswear to transform. 39
LIST OF ILLUSTRATIONS Fig 1: Nuno Textiles Close up. Baseby, F. 2012. Nuno Textiles cocooned by floating textiles. Rio Magazine [Online]. Available at: https://www.riomagazine.co.uk/2012/11/cocooned-by-floatingtextiles/?doing_wp_cron=1408486611.7117838859558105468750 Fig 2; Collapsible bag design. Berkeley, C. 2012. Paper Works. Gingko Press: London Fig 3; Origami rooftop Japan. Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson. Fig 4; Interactive dance projection. Backhus, J. 2015. Dance Bend Light in Stunning Projection Mapped Performance. Vice [Online]. Available at: https://www.vice.com/en_uk/article/ez5pmp/dancer-bends-lightin-stunning-projection-mapped-performance Fig 5; Hope Tree Installation Japan. Berkeley, C. 2012. Paper Works. Gingko Press: London. Fig 6: Mathew Shillian – Misfold solo show, 2007. Misfold. 2017. YouTube [Online] Available at: https://www.youtube.com/watch?v=uzF-MxHa5YA&feature=player_detailpage Fig 7; Elisa Strozyk – wooden textiles. Photos by Sebastian Neeb. SolidSmack. 2013. DESIGN Woodskin: A New Material Offering for All Your Lo-Tech Polyhedral-Sculpting Pleasures. [ONLINE] Available at: https://www.solidsmack.com/design/woodskin-a-new-material-offering-for-all-your-lo-tech-polyhedralsculpting-pleasures/. [Accessed 10 November 2019]. Fig 8; Interior architecture by Scott Cohen’s. Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson. Fig 9; Zaha Hadid’s opera house. Glancy, J et al. 2011. Guangzhou Opera House. The Guardian [Online ] Available at: https://www.theguardian.com/artanddesign/gallery/2011/mar/01/zaha-hadid-guangzhouopera-house-in-pictures Fig 10; Embossed shapes in Denari’s rendered architecture. Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson Fig 11; Chryssa, Study of Gates No. 4 1967. Tate, London Fig 12; Maxxi National Centre of contemporary Arts. Rome. 1997-2007. Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson. Fig 13; Steam stretch material innovation. Issey Miyake. Chiu, L. 2014. Issey Miyake: 23 Steam Stretch. Stylus [Online] Available at: https://www.stylus.com/rqrrrk Fig 14-15; The House that shape shifts. Barcelona’s Institute for Advanced Architecture. O’Callaghan, J. 2014.
The house that SHAPESHIFTS: Designers create 'origami' model building that expands and contracts depending on the temperature. The Daily Mail [Online] Available at: https://www.dailymail.co.uk/sciencetech/article-2753680/Want-live-shape-shifting-HOUSE-Structureexpands-heated-moulded-different-forms.html
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Fig 16-18 Adidas Futurecraft and ‘Carbon’ technology. Howard, D. 2017. 4D Futurecraft. Dezeen [Online]. Avaiable at: https://www.dezeen.com/2017/04/10/adidas-futurecraft-4d-running-shoes-digital-lightsynthesis-carbon/ Fig 19-20; Nike News. 2019. Auxetic trainer sole. 2014. Nike Pro Hyperstrong: Taking Impact Protection to the next level. Nike News [Online] Available at: https://news.nike.com/news/nike-pro-hyperstrong-taking-impactprotection-to-the-next-level Fig 21; Max Schath e-motion hood with shape memory alloys. San Martin, M. 2010. Future Fashion: Innovative materials and Technology. Promopress: Spain, Barcelona. Fig 22; The Sound Cave. Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson. Fig 23; Collapsible paper helmet. Morby, A. 2017. Foldable paper helmet. Dezeen [Online] Avaliable at: https://www.dezeen.com/2016/11/17/ecohelmet-foldable-paper-cycling-helmet-transport-safety-designwinner-james-dyson-award/ Fig 24; Collapsible bag design. Berkeley, C. 2012. Paper Works. Gingko Press: London Fig 25; Stockman Haute Couture Busts. Foiret, C. 2011. Haute Couture Stockman by Eem. Trendland [Online]. Available at: https://trendland.com/haute-couture-stockman-by-eem/ Fig 26; Bridget Riley exhibition. Southbank. Hayward Gallery, London Fig 27; Interactive dance projection 3D mapping. Backhus, J. 2015. Dance Bend Light in Stunning Projection Mapped Performance. Vice [Online]. Available at: https://www.vice.com/en_uk/article/ez5pmp/dancer-bendslight-in-stunning-projection-mapped-performance Fig 28; Termofomati embossed automotive fabric. Ajvaz, Z 2015. Fibre Innovation. WGSN [Online]. Available at: https://www-wgsn-com.ntu.idm.oclc.org/content/board_viewer/#/63207/page/1
Fig 29; MIT Media Lab Biologic ventilation system. Tucker, E. 2015. MIT Media Lab’s BioLogic material opens and closes in response to humidity. Dezeen [Online]. Available at: https://www.dezeen.com/2015/11/04/mit-medialab-tangible-media-group-biologic-material-bacteria-fashion-design/ Fig 30; Spacer mesh. Baugh, G. 2011. The Fashion Designer's Textile Directory: The Creative Use of Fabrics in Design. P34. Fig 31; Steam stretch material innovation. Issey Miyake. Chiu, L. 2014. Issey Miyake: 23 Steam Stretch. Stylus [Online] Available at: https://www.stylus.com/rqrrrk Fig 32; Quilted jacket. 2019. Klymit Thermal innovation. Lamanoosh [Online]. Available at: https://lemanoosh.com/publication/httpsklymitgraphics-wordpress-comcategorykineticvests/#.WMrbybEeoxk.pinterest Fig 33; Adidas by Stella McCartney spacer mesh trainers. Hendry, V. 2014. S/S 16 Sport Textile Direction – Midlayers. WGSN [Online]. Available at: https://www-wgsncom.ntu.idm.oclc.org/content/board_viewer/#/63207/page/1
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Fig 34; WGSN Trend Boards. Harmon, J. 2018. WGSN [Online] Available at: https://www-wgsncom.ntu.idm.oclc.org/content/board_viewer/#/78238/page/10 Fig 35; Samsung monitoring athlete technology. Harmon, J. 2018. WGSN [Online] Available at: https://wwwwgsn-com.ntu.idm.oclc.org/content/board_viewer/#/78238/page/10 Fig 36-39; WGSN Trend Boards. Harmon, J. 2018. WGSN [Online] Available at: https://www-wgsncom.ntu.idm.oclc.org/content/board_viewer/#/78238/page/10 Fig 40; Skynfeel long jump suit. Howarth, D. 2016. Condom material becomes sportswear for Pauline Can Dongelen’s lond-jump suit. Dezeen [Online}. Avaliable at: https://www.dezeen.com/2016/07/21/skyn-condommaterial-sportswear-long-jump-suit-pauline-van-dongen/ Fig 41; MIT Media Lab Biologic ventilation system. Tucker, E. 2015. MIT Media Lab’s BioLogic material opens and closes in response to humidity. Dezeen [Online]. Available at: https://www.dezeen.com/2015/11/04/mit-medialab-tangible-media-group-biologic-material-bacteria-fashion-design/ Fig 42; Nike Performance trainers, 2020. Ravenscoft, T. 2020. ‘Nike designs Air Max 2020 to be the shoe of the future’. Dezeen [Online} Available at: https://www.dezeen.com/2020/04/16/nike-designs-air-max-2090-shoeof-the-future Fig 43; Nike trainer deconstruction. Laughlin, Z. 2020. How to Make: The Trainer. BBC Three iPlayer [Online]. Available at: https://www.bbc.co.uk/programmes/m000gwzd Fig 44; QR code technology in future automated vehicle cyclist recognition. Future Textile. January 2020. Mirror Image. Issue no. 201. Fig 45; Nike Womens Dri-Fit Running Tights with Compression. 2014. Nike Pro Hyperstrong: Taking Impact Protection to the next level. Nike News [Online] Available at: https://news.nike.com/news/nike-prohyperstrong-taking-impact-protection-to-the-next-level Fig 46; Cadence cycling Collection. 2019. Online store. Cadence [Online]. Available at: https://www.cadencecollection.com/ Fig 47; Maap cycling wear. Online Store. Maap [Online] Available at: https://eu.maap.cc/ Fig 48; ‘Rapha’ cycling wear. Online Store. Rapha [Online] Available at: https://www.rapha.cc/gb/en Fig 49; Women’s Under Amour Hi-Rise Luminous Legging. The unique glow in the dark leggings stand out so cyclists can be seen in the dark. Under Armour [Online] Available at: https://www.underarmour.com/enus/womens-ua-hi-rise-luminous-legging/pid1289333-001?cid=SM%7CPinterest%7Cwomens%7Cbrando%7C%7Cluminous%7C12082016&geat43=a Fig 50; Yoga Dancer’s Pose. Mental Health and Wellbeing. Saba [Online]. Available at: https://cazchic1303.sabaforlife.com/about
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QUOTATION REFERENCES Hodge, B., 2005. Skin and Bones: Parallel Practices in Fashion and Architecture. London: Thames and Hudson. Future Textile magazine: 2019. Issue 6: 25
BIBLIOGRAPGHY Abstract. Olafur Eliasson: The Design of Art. Netflix Documentary Abstract, Tinker Hatfield: Nike Footwear Designer. Netflix Documentary
Aston Martin Colour and Trim Lecture at NTU 2019 Bridget Riley, Southbank, Hayward Galley, London. January 2020. Fashion for Good Exhibition, Amsterdam January 2020. Matt Woodham. Generating Systems. Bonnington Gallery, February 2020 New Designers Exhibition 2019
The Art of Innovation, The Science Museum, London The Barbican AI exhibition, London The Contemporary, Nottingham The Design Museum London: Designer Maker User The Japan House London
The Saatchi Gallery, London Olafur Eliasson, The Tate Museum, London Tim Walker ‘Wonderful Things’ exhibition, The V&A, London 43