|Title:||Creation of interactive fashion|
|Subject:||Fashion -- Technological innovations.|
Clothing and dress -- Technological innovations.
Hong Kong Polytechnic University -- Dissertations
|Department:||Institute of Textiles and Clothing|
|Pages:||xxv, 225 leaves : ill. (chiefly col.) ; 30 cm.|
|Abstract:||In a dynamic and ever-changing world today, any immutable fashion norm is being overtaken by a surge of searching for new, dynamic clothing models. At present, the prevailing concept of clothing is one that clothing is perceived often as static and mortal. A piece of clothing item is 'active' only when it is activated by the movement of the wearer while it is being worn. Nevertheless, this kind of actions and/or changes is unilateral, initiated but by the wearer. Scare past attempts have been made to expand and invent fashion that go beyond this unilateral 'action' to becoming 'interactive'. It is the ultimate aim of this research to expand, invent and create fashion clothing that are interactive between the clothing and the wearer and/or between the clothing and the context in which it is worn by which the role and values of fashion are redefined. Ever since Interactive Art was presented in 1960s, interactivity has been increasingly popular, notable in designs from sophisticated industrial products to daily household appliances. With the rapid development in computing science and electronics, human-artifact interactivity has been made possible. Very often, interaction designs today adopt electronic technology terms and user interface designs. While modern living has been increasingly interactive, equal attention has been drawn upon emotion psychology in the course of interactions. It is timely indeed for the aspiration for creation of Interactive Fashion (IF) and a deeper understanding of its interactions among wearers and between wearer and clothing. In this study, an original theoretical framework of interactivity which is standardized, systematic, and multifarious was established through a study of substantial amount of prior representative works of interactivity. The framework provided theoretical reference for decoding and analyzing interaction design applications whereby various interaction processes, interactive relations and levels were summarized towards a better understanding of the essence and law of the happening of interactivity as well as their varied courses. An original theoretical system of IF based on the said theoretical framework was further established to elucidate the interaction processes, interactive relations and levels peculiar to interactivity in fashion. In analysing the operational system of interactivity, references were made to the said theoretical framework of interactivity against various specific exercises of interactivity. Meanwhile, the theoretical system of IF helped guide the designs and creations of IF towards the latter stage of this study when the emphasis turned to focusing more on analyzing IF that detects and recognises emotional changes based on physiological data measurement obtained via visual expression observed, during which interactions between prototypes of IF created, i.e., 'Breathing Dress' and 'Heartthrob Dress', and human were studied in the light of the theories of emotional recognition and physiological signal data measurement for emotional recognition. Since the convention of emotion recognition based on physiological data has been but a relatively simplex statistical summary of the various collected physiological data in a hope that relationship between emotional changes with any particular data from a broad perspective can be discovered, this research added on to this foundation concept of emotion recognition a concept of data synthesis and organization from related sensors towards an advanced and more accurate emotion recognition and understanding. The knowledge gained shed light on an in-depth theoretical and operational understanding of the interactivity among IF and human.|
All along, the research method made close reference to contemporary fashion trends, new design ideologies, and leading examples of interactive art and design. In addition to advance the holistic and deeper understanding of emotion, combining modern design features, appropriate materials, and the technological development in electrics and electronics, this research created a holistic concept of interactive clothing that are both structurally innovative and functionally sophisticated, whereby clothing is escalated to a new level where they are not only fashionable and comfortable to be wore, but also can they suggest real-time moods and emotions of the wearers for timely responses (e.g., comforted (when feeling sad), praised (when having success), enlightened (when being bewildered), etc.). Ultimately, the study activated clothing we wear an everyday item that has an intimate relationship with our life. Since clothing are commodities so closely associated with our daily activities, the simultaneous interaction between clothing, wearers and surrounding/spectators through interactive physiological detection and visual responses advance understanding of emotion recognition. Such understanding and recognition are no doubt of tremendous value contributive to the long-term development of emotion management and medical/physiological diagnosis. Successful creation of Interactive Fashion not only expanded the aesthetical and technological dimensions of fashion attributive to the subsequent redefinitions of fashion as object d'art as well as utility, of humanities and technology, but also did it reshape our lifestyle and cultural context in which we live.
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