Tuesday, July 31, 2007

Appendices

...please begin at the beginning here. Also to reiterate: this piece is © 2006 Kimberly Hall. Do not copy, steal, or reproduce without permission. If you're interested in my work, please drop me a line. Thanks.


Prototype of the Fading Latex Jacket (new on left, aged on right)I developed for my MA collection All Stories Have Endings at Central Saint Martins, 2006.

Appendix 1 — Project Proposal

Appendix 2 — Questionnaire
147 respondents collected between August 1 and October 10, 2005.
Dressing Questionnaire—ADULT
Please return to brella@nottene.net by October 10, 2005

FIRST NAME:
DATE:
AGE:
SEX:
LOCATION:
OCCUPATION:

1. Do you dress according to rules? What are they?
2. On average, how long does it take to pick out your outfit?
3. Do you or have you ever dressed accroding to proscribed social or religious rules? Can you write a bit about what they are/were and how you feel/felt about them?
4. What do you try to accomplish through your choice of clothing?
5. Do you try to express your personality through your choice of clothes? Can you describe which particular pieces of your clothing do this well?
6. Do you think you communicate through your clothes? If so, what do your clothes say?
7. Can you recall anytime something you wore caused a peculiar (wanted or unwanted) reaction from others? Or maybe a time someone else's clothes caused an unusual reaction in you?
8. Have you ever had to wear a uniform? Did you love it or hate it? Why?
9. What's the weirdest outfit you ever wore?
10.Can you recall the biggest wardrobe crisis you ever had, whether recently or as a teen?
11. How do you think your style of dressing has changed over time?
Anything else you’d like to say about clothing or dressing?


Appendix 3 — Moodboard




A few last comments here

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Monday, July 30, 2007

an aside....

before I finish up my thesis posting, I just want to point you to my guest post over at the shopping blog Rare Bird Finds. My post is all items from some of my favorite web stores (I could have done way more that 5!)....back to deep thoughts tomorrow!

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Wednesday, July 25, 2007

quickie!



Boing Boing post about a furor over unlucky numbers among cabbies in San Francisco! Link

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Monday, July 23, 2007

I like the juxtaposition of these two artists



Nostalgic Technology
by Svetlana Boym
Her website was a little difficult for me to navigate and make sense of at first, but as I poked around I became more and more enamored with the way Boym approaches technology/machines.

******



Volksboutique
We make Money Not Art presents an interview with Christine Hill. While Hill's aesthetic is lovely, I enjoy more her writing and turn of mind.

P.S. I don't even know why I use these tags. I hope they turn out more helpful than they feel right now. hmm.

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Friday, July 20, 2007

Fashion-Incubator

Anyone who works in clothing design or garment construction or fashion, should check out Fashion-Incubator. The site is run by Kathleen Fasanella with help from some loyal friends from the industry. The website is a treasure trove of wisdom and information as well as a laugh and an occasional bite. There are often great discussions in the comments as well, for F-I's readers are a smart set. Of course, the book that Fasanella wrote is the real source of information if you are looking to start your own business. I haven't bought it, only read a few excerpts, which I doubt would please Fasanella, but if I do go out on my own someday, it's at the top of my list to read. I love to be hands-on in the making process and it's a primary motivator for me in terms of starting a business. One of the hardest things working for a big corporate manufacturer as a designer is that I am so far from the making process.

Anyway, back to Fashion-Incubator, here a few of my favorite bits & features:

A simple post about washing clothes with interesting comments to boot. I'm surprised there wasn't more talk about the damage a dryer can do. I really found this one interesting because my MA collection at CSM was made of some fabrics that changed with water. I did a lot of washing machine experiments last spring! When I came back to the US this year I realized the hard way that American washing machines are much more powerful than UK ones. :(

Fasanella has two regular features that I love: Archives, links to articles from the same time last year and the year before, and News from You, links sent in from readers. Both are always full of interesting tidbits.

The site also haas a decidedly sustainable slant with excellent articles about eco habits to develop and organic cotton.

My all-time favorite post relates to my own interests (of course) about invisible components of our clothes. Kathleen was responding to a project called Carnivale of Couture by the Sewing Divas about Ritual Cloth. Fasanella wrote about a purse, backpack, and a couple of jackets that reveal as much in the pictures as they do in her words.

P.S. Pleating!!

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Thursday, July 19, 2007

a dear project




Sillkscreened covers, folded brochures, Pencil illustration

Check out The Land Of, a new(ish) record label that is putting out some interesting work. I know I'm biased, not only because I'm doing all the design work either. It is really lovely stuff.

This CD by My Fun (the second from The Land Of) is all inspired by "talking postcards" from turn-of-the-century Europe, called Sonorines in France. I wish I could do the music justice by describing it, but the best i can offer is this line from the about page:
The Land Of is interested in artists that are exploring the subtle detail and beauty in everyday sounds

This was such a fun project for me. I always love working in a variety of media, and working with Justin always inspires me to want to work with sound (see my enjoyment in this post) I'm very excited to be designing their next release this fall as well!

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Wednesday, July 18, 2007

internet of the past.....


As I've been endeavoring to post every (week)day I've discovered just how much work is involved in making this "blogging" interesting to others as well as relevant to my own work. I've seen a couple of posts lately (here and here) lamenting the loss of originality on the internet and bemoaning the mounds of reused links and referrals that pass as content these days.

I really hear what these two are talking about. I've been reading/writing/posting online since 2001 (over six years!), and I do feel a difference that sometimes is wonderful and sometimes very repetitive. While it makes sense for me to post and keep track of all the things I love and find in cyberspace (tee hee) I do wonder if I'm finding enough truly interesting content to make this worthwhile. To that end, I do try to write my own critique and commentary, but man, it does take a long time to sort and write and plan these things. Funny, how doing things on the internet often starts out as a way to pass downtime at work! Now I rarely have enough downtime to keep up....

Anyway, I've found some synchronicity in my online reading lately, so thought I'd pass it on. My next big posting project will be some of my thesis work from my MA last year...might as well put it out here where it might get read....or at least get linked to!

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Tuesday, July 17, 2007

Emotion—why did I title it this?

Last week I mentioned this article about the divide between science and art. And how "I'd like to write a bit more about this one...." so I'm trying to be inspired to write a bit about some pages I think are related. ahem:

Basically the Boing Boing post reviews an article in the Guardian that talks about the division between science and the humanities and whether there is a "third culture" that bridges this divide. They review a website, two books, and a writer. Natalie Angier's comment "Science is rather a state of mind" reminded me of this article I wrote about before. But it makes me look at that article from Business week in a different way. Nussbaum talks about "Design Thinking" (his caps, not mine), in a way that makes me wonder what is 'humanities thinking'? Is there such a thing? Or is it the same as "design thinking" and those are the two sides being talked about in the Guardian article? Maybe "design thinking" is the third culture referred to in the article? Sorry for all the quote marks....

Boing Boing also recently linked to a Douglas Adams lecture titled "Is there an artificial god?" that made my head spin (in a nice way) similar to the article above. It feels like such a lovely way to consider ideas about god and consciousness and humanity. Sadly, perhaps, it makes me want to totally live in my head and stop making things. Funny how doing a lot of in-depth reading can put me off of physical objects....it's almost like there iis a real divide between intellectual thought and physical action (hey.....) that happens so very naturally that its unstoppable. Good thing I have studio space this month or I could feel myself heading into a downward spiral of creation (or is that anti-creation?)

Moving on....a nice pair of articles that I really enjoyed finding together:

From Boing Boing, "Love, Internet Style" Clay Shirky's keynote speech from the Supernova conference in San Francisco that posits love as a predictor of technological success.

Usman Haque's own keynote speech titled "I Hate Technology" reported on We Make Money Not Art (aside: one of my very favorite blogs). Truth be told the LOVE/HATE theme doesn't exactly work because the speech was for the We Love Technology day on July 12 in Huddersfield, GB.

Gilbert Austin, Chironomia (1806), plate 9.

Finally, and totally unrelated to anything about (so much for my circular mind melt) is an article from Cabinet Magazine about gestures lost through time
“By the end of the nineteenth century, the gestures of the Western bourgeoisie were irretrievably lost”: so writes Giorgio Agamben in his 1992 essay, “Notes on Gesture.”

This is a pet love of mine. I did a couple of garments related to Alexander Technique in my first year of grad school. Unfortunately I don't seem to have any pictures handy, but maybe I will find some and revisit this. I love the body/garment connection.

P.S. A new blog I just started digging around on....hmmmm!

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Monday, July 16, 2007

Dylan Trigg



I found some great posts on a blog called Side Effects by PhD student Dylan Trigg at the University of Sussex in the UK. I'm not sure exactly how I found my way there from Things (my favorite!), but I did also find among my bookmarks a link for his recent book The Aesthetics of Decay. While his main interests aren't exactly on target with mine (place, architecture, urban decay seem to top his list as opposed to my interests in the body, clothing, and emotion), we do have several areas in common (time, memory, light & shadow).

The quotes I loved are:
If, as architect Sverre Fehn has suggested, the creation of a shadow constitutes the origin of place, then how does this interplay between the place of shadows and the openness of light form a dialectics of memory?

Instead of viewing this relation between shadows and light as a transitional phase, in which shadowed place eventually gives rise to the clarity of light, let us think of the relation as the formation of a dialectic between presence/absence, inside/out, and process/stasis. Here, negativity and positivity appear as shifting perspectives, spatial patterns which reach a limit and then disperse.

If a shadow is also its double, so invoking an inherently temporal dimension, then it deserves to be held apart from the perception of light. We are in the midst of the texture of surface, a texture comprised from the jagged, uneven unfolding of shadows, shades, and modulating terrains.

From this post about shadows. And a few more from the follow-up:
Indeed, such is the centrality of light to the formation of place that Junichiro Tanizaki, author of In Praise of Shadows, is prepared to state that: “In making for ourselves a place to live, we first spread a parasol to throw a shadow on the earth, and in the pale light of the shadow we put together a house” (p. 28). Further still, Tanizaki goes on to describe how Japanese design orients itself around “neutral colors so that the sad, fragile, dying rays can sink into absolute repose” (Ibid., p. 30). The emphasis on the neutrality of space as a platform on which shadows form underscores the dynamic texturing of surfaces, as both morphing and enduring in time.

In all of these quotes Trigg is writing about places, but i think these ideas translate well to my interests in clothing right now. I'm developing some new work based on my Shadow Dress that was exhibited at School last year. It got a great reception and I've recently been thinking I should push my ideas a bit farther.

Trigg also writes a wonderful bit about how modern lighting (he posts a picture of a bland office) virtually eliminates shadows and the implicatioins this has on our experiences in that type of environment. That one goes on a bit so I won't quote it here, some of the posts are quite long and difficult to process. I feel like I've been missing relevent academic reading lately. I'm rather interdisciplinary, or maybe there's just not enough critical new writing about wearing clothes. Either way, I'm really enjoying Mr. Trigg.

A few more links about Dylan Trigg:
Interview about his book, The Aesthetics of Decay
Review of the above book
Article about place & Startbucks

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Friday, July 13, 2007

studio time

Today I'm in the printshop working on projects of mine and of others. So today will not be the day for thoughtful critical writing that I'd hoped for. In fact, it won't even be the day for a wall paper round up (all my nice links I've been gathering aren't handy). Just pretty pictures today....


Bryan Voell [via]


Sweet tops [via] I want this one!


Lise Lefebvre's aesthetics of domestic sound [via]

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Thursday, July 12, 2007

Good Make!

A round up of my recent favorite finds via Make, like yesterdays faves from Boing Boing. Tomorrow, something a bit more critical, I swear!


The breath powered USB charger by jmengel from May 16. I can't even begin to describe the ideas this piece gives me. It's top on my list to make!



"Fabber" the homemade 3D printer (1/10th the cost of a store bought one!) by roboticist Hod Lipson on May 30. This one might be a bit out of reach for my tech skillz....but maybe I can recruit my dad (although there's still the $2300 to be found!).



Brilliant wallpaper idea (the photo doesn't do it justice!) on June 13. Really such a brilliant idea, I can't believe it hasn't been done before now. I'm so into wallpaper lately, I should do a follow up post of some of my favorite wallpapers (note to self! ha). There's so much interesting work.



Sarah Hood's beautiful landscape jewelry on July 5. Of course this is something I wish I had thought of. I just want to eat that little tree.



Artist Ma Jun makes beautiful low tech electronics from China on July 7.

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Wednesday, July 11, 2007

Good Boing Boing!


A book about the significance of opjects on Friday July 6. I wish I had this book a year and a half ago when I was writing my dissertation!


Cabinet of curiosities creator is interviewed on Craft Zine found on Boing Boing on Friday the 6th as well. Lovely crocheted sea creatures....

A really interesting article from Monday July 2 about the divide between science and art. Lots of good links to other articles & books. I'd like to write a bit more about this one....

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Tuesday, July 10, 2007

Kosuke Tsumura



One of my favorite web magazines Ping recently interviewed fashion designer Kosuke Tsumura. They talked about his most recent work where he designed 9 ensembles for 9 specific women, as opposed to designing for the market at large.

Now Ping described the project as "Tsumura would interview 9 women. Afterwards he would fantasise about them and would project things onto them – and create a dress based on these fantasies for each of them. Then, photographer Hiroyuki Matsukage would document the women wearing the dresses." But when I looked up the gallery's site, they described it as "he suggested to create the clothes exclusively to women who appeared in his mind. Based on the imagination, he selects the model. Having presentation and discussions with the models, he expands imagination and the fantasy more and creates a dress just for the model." To me, those are two very different scenarios.....but I guess, either way I find the project quite compelling.

I was surprised I'd never heard of Tsumura before, this project seems so relevant and interesting. But when I poked around his website and looked through his FINAL HOME work, I wasn't so surprised. It's a line meant to dress people up for urban survival. Sort of a practical take on the refugee/apocolyptic/natural disaster scene, without the power of Lucy Orta or the vulnerability of Hussein Chalayan. I'm not saying it's "bad", just that it's aim seems to be to really sell the work and reach everyday people and sometimes things like that don't get lots of press.

In some ways this project, I hesitate to call it a collection, felt flat to me by the way it was seemed more of a shallow fetishization of the female subjects. It was a bit too surface, in some ways. Tsumura said he only chose women because he couldn't "expand his imagination" on members of the same sex. Eh, I like someone who's not so afraid in that way. That said, the basic idea is a sound one that I won't forget.

The project is available in book form Fashion Mode to Order as well as being shown at Nakameguro’s Mizuma Art Gallery, Tokyo

In my explorations, I also found the bilingual art magazine ART iT (that origiinally commissioned the project and am in love!

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Monday, July 9, 2007

quick clips

After all that writing last week, here are just a few fun pics:


Wedding dress from the Smithsonian made of a parachute that saved the groom's life during WWII [via]



They keep saying patchwork is hot at work....
fashion ads from Ebony 70-76



National Geographic does an interesting (and disturbing) article about the "shadow person"

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Friday, July 6, 2007

Design III



The David Report writes recently about the dearth of good design, especially noting the Milan Furniture fair, and suggests:

"An adequate question to highlight is if we should call it design, art or design-art or if we have to invent a new category and word for these experiments. Some people call it neo-surrealism or expressionism-design, but we would prefer to refer to it as Vulgarism."

They posit that there is no intellectual base from which the current trends in design can grow. They charge that contemporary designers "are more or less just doing extravagant objects. A kind of design on dope."

Oliver Ike suggests that designers are out to make quick money by being fake artists in their design work. that be dropping the functional aspect of design (a big no-no) they are left with "vulgar pollution" that they sell as art. He also tries to explain under what circumstances design pieces should rightfully be commanding high prices (as objects important to the history of design, not as art objects).

The article includes a great quote from Core 77, “This rising tide of disaffection tends to share two themes: a distaste for the superficiality of design’s media-celebrity nexus; and a growing discomfort with design’s role in generating ’useless stuff’. These two complementary critiques could be abbreviated as Anti-fluff and Anti-stuff.”

Of course there's a few quotes I'm not at ease with like this one, "Likewise we would like to quote a good designer friend of ours who refers to the Vulgarism as design for girl’s magazines (no hard feelings towards girl’s magazines though)…" Nice.

And there's the bits where the authors try to differentiate between artists and designers (quoting the British design council): “Designers, unlike artists, can’t simply follow their creative impulses. They work in a commercial environment which means there is a huge number of considerations influencing the design process. Designers have to ask themselves questions such as: is the product they’re creating really wanted? How is it different from everything else on the market? Does it fulfill a need? Will it cost too much to manufacture? Is it safe?” My instincts tell me this is oversimplified. Design requires so much more than this, and often art demands these questions be answered as well.

Overall, I respect the closing sentiment to the piece, "At David Report we believe in long lasting values as one of the best and most valuable sustainable solutions....We are producing new stuff as if our resources were unlimited. We need to buy less but better products. We need to re-use and re-cycle. The maximalistic work of the Vulgarism is unfortunately something completely different. It’s a blown up bubble of exercise in decoration offering only a hollow shell." I think this outlook is the basis of artwork already (seriously, let that thought roll around a bit), and should be adopted by all designers.

If it's not clear by now, I think art has to be the leader in all of the arenas I've been posting about these last couple of days. Simply put, I don't think money should be the biggest motivator. Maybe that makes me anti-capitalist? I still think the free-market system is okay. I just think, on a personal level, who wants to be the person who values money over everything else in this amazing world? I know we all need a certain amount to live, not contested, but I hope we are talking about after all the basic needs are being met here. I'm sure there will be more posts about this topic, I feel like I am just getting started on something here and I need to develop and refine my thoughts even further, especially in regards to my own work.

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Thursday, July 5, 2007

Design II

Following up with yesterday's design post, there was a recent entry on the New York Times Runway blog about Sarah Jessica Parker's new project the fashion label "Bitten". There's even a follow-up piece about it's manufacturing and production policies under Steve & Barry. I'm going to focus on the interview between Cathy Horyn and Sarah Jessica Partner, but I think the second piece has some very interesting comments too, which I've quoted and linked to below.

The thing that gets me about Parker's label, or at least the way she defends it, is that she presents it as high quality, timeless, well-designed clothing. And while Steve & Barry have a laundry list of methods they use to keep costs down (manufacturing off-season, fewer middlemen, no advertising, etc.) there is just no way you can convince me a $10 purse is well-made. I think "well-made" implies more than just "sweatshop-free". Well-made implies quality materials, good construction, and thoughtful creative design work. SJP says, in regards to people criticizing the label:
"Great. Bring it on. And tell me what troubles you about women in this country having affordable, well-made clothes. Let’s talk about it."


There is also some discussion about why high end designers don't work at mass market prices. The exchange between Horyn and Parker goes like this:
Q: Of course many designers, including Vera Wang, are now making clothes at mass-market prices. They seem to want it both ways. And some designers could enter this field but choose not to. What if Olivier Theyskens did a label like this, with jeans for $14.98? He’s hip and talented.
A: And [laughing] he has the prettiest hair.
Q: But designers like him won’t touch this market.
A: But why?
Q: Pride, maybe. Sophistication.
A: I also think they just want to drop in for a minute, like the designers did for the Gap. It’s a moment, a quick affair. But with this line, you have to be a little behind the eight ball. I don’t want it to be fashion forward. A lot of women can’t wear what Olivier designs. It takes time for their eye to adapt.

I'm surprised they didn't consider that maybe many designers don't want to work at this level because you can't make many well-crafted clothes at such a low price point. I think make all this cheapy stuff is not just about "access" as Parker contends, but about a business strategy that aims to make profit buy selling quantity not quality.

Q: Did you have any concern that maybe we don’t need more stuff clogging the planet. There is H & M and Target, and Topshop wants to open here.
A: Of course. I think I would have felt that if I didn’t understand the Steve and Barry’s customer. There aren’t H & Ms everywhere. And that’s very trendy fashion—it’s not what every woman wants. I don’t feel there is this surplus, in a way. To me, it’s about access.

Parker tries to dodge the question I think. I do believe the world is small enough that fine goods are available to most everyone in first world circumstances that wants to find them. I know many won't agree with me, but between ebay and thrift stores and trades and freecycle, you can pay with time (in searching) and not money if you really want nice things and don't have tons of cash.

The one valid point I think Parker does make is about size range. Bitten is offered up to size 22, and many high quality brands don't go past 10. Especially the way Horyn describes the line:
"My own feelings about the label are that the basics are solid, especially the jeans and the striped T-shirts and cropped hoodies, but that it needed more surprise. That may come with time."

While basics are "important", I bet the clothes become more trendy over time, more H&M, and less styles available in that size 22.....but maybe I'm too cynical.

comments to this article I found interestin:
Also, a $20 coat is no bargain if it falls apart after it is worn a couple of times. LJG

“What troubles me is that her clothes look a lot like Old Navy, are priced similar to Old Navy, and are positioned as a panacea for the faltering self image of American women - as sold to us by a size zero, faux blonde starlet glued to a pair of $500 heels." Faran

Mrs Parker attends fashion runway but for “us” designs something worth 9.98?? Please.Margherita

"Having purchased quite a few Bitten items, I say hurray to SJP for making nice, very affordable clothing for the masses of women who do not fit or can afford designer clothing. While I could well afford, and have purchased designer clothing, I have grown to be opposed for ethical reasons, to buying expensive clothes. There are people starving in my city, and squandering money on items that are temporary is just ridiculous."Dwarrior

"I love the idea of getting great clothes to the masses at an affordable price, etc., etc., but the subtext of this interview — and of the other interviews with SJP I’ve read — is that the masses don’t really deserve something beautiful (that word is never used), just something workable. Just “simple American sportswear.” .......What this basically amounts to is a star who is known for wearing expensive clothing, in a massively overdone gesture of noblesse oblige, offering linen pants and tank tops to the masses, those poor ignorant people who don’t have access to Narciso Rodriguez and whose untrained eyes would be blinded anyway if they even chanced to look at anything that wasn’t a hoodie." Irina

"I live smack dab in the middle of America and am able to find plenty of stylish and cheap clothes at Old Navy, Target, etc. That is not what I want. What I want is to pay an $20 for that $10 bag knowing it was manufactured responsibly. I don’t think I’m alone when I say that even on my middle American income I would be willing to pay more for a garment if I could have more peace of mind wearing it - kind of like that feeling I get when I eat food grown from the local grower at the farmer’s market vs. eating the cheap produce at WalMart."lemissa


comments from the follow-up article:
"Someone was comparing it to the Bauhaus, or at least connecting it to that school. First, yay Bauhaus. Now that that’s out of the way, I don’t think it’s a legitimate comparison. The work of the Bauhaus was a major development in aesthetics and social ideas, in addition to being high-quality and quite long-lasting....Bitten is nothing like that; it may be cheap and available to the masses, but what sets it apart from any other pile of clothes at the discount store? THE PRESENCE OF A CELEBRITY NAME. It’s trash fashion." Anjo

"Jil Sander is too “smart”- elitist maybe? Lanvin too? But, to me, they seem so solution driven! These are two designers who appear to be thinking and really addressing women’s needs in their own way. But for some damn reason, it’s the Millys, Rebecca Taylors, DVFs, Tracy Reese’s etc that are what the mass market are looking for....Yes, not everyone has money (as most people say is the primary reason for not dressing how they “want”), but don't sit there and tell me that when instead of one pair of 400 dollar shoes, you have 30 (no, seriously), 30! pairs of 20 dollar shoes. No money? It’s that people like the cheap thrill and they like not having to stop for a minute and think about what they want to say with their clothes." J

"I don’t buy that we’ve grown used to “overpriced” goods…if anything we’re getting used to cheaper & cheaper–as a result of labor or technology or importing from “friendly countries” or “the country du jour” that is in compliance with our trade balance or even human rights policy which would be totally okay to skip all the duties, etc?"Hillary

"My fellow Americans: YOU ARE SURROUNDED BY LOW-WAGE WORKERS EVERY DAY OF YOUR LIFE. Ask yourself when the last time the guy standing next to you on the train might have seen a dentist/had a physical/enjoyed a decent vacation from work; then, picking an obvious target such as the ready-made possibility of sweatshop labor might then become somewhat more difficult." EM


I could go on and on! So many interesting comments....go read them and tomorrow I will post my last article and hopefully tie all this stuff together.

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Tuesday, July 3, 2007

Design I

I've got three articles and one thing on my mind, let's see if we can make some connections.

Bruce Nussbaum writes column for Business Week about design. On June 28 he wrote about a speech he made at Innovation Night at the Royal College of Art in London the Tuesday before. Basically he talks about how he thinks CEOs and other business leaders need to be trained as designers because that the best way to see the bigger picture. The article is called CEOs Must Be Designers, Not Just Hire Them. Think Steve Jobs And iPhone. Some choice quotes:

"Designers are the sherpas of culture, the guides to community, the empathizers of the odd and foreign."

In my experience most businesses don't want to be this. They want to be what people already want, not what is strange and new.

"The commoditization of knowledge and tools around the world is leading to a Do It Yourself culture. The democratization of design and innovation is allowing both the wisdom and folly of crowds to directly shape products, services and brands. And the rise of Web 2.0 tools is leading to an explosion of new social networks that allow consumers—people—to be actively engaged in the conversations that shape their lives."

I truly get why people want to DIY, I am one of them. I have struggled how to reconcile my love to make and my loathe to buy. I love to make things. I want people to buy my things if I am going to survive as a designer. I don't really buy a lot of other people's things...I know it's more complex than that (I do buy homewares for example). But the big revelation for me came with the realization that I'd rather buy fewer better (more expensive) than loads of cheap crap.

"Design is so popular today mostly because business sees design as connecting it to the consumer populace in a deep, fundamental and honest way. An honest way. If you are in the myth-making business, you don’t need design. You need a great ad agency. But if you are in the authenticity and integrity business then you have to think design. If you are in the co-creation business today—and you’d better be in this age of social networking—then you have to think of design. Indeed, your brand is increasingly shaped and defined by network communities, not your ad agency. Brand manager? Forget about it. Brand curator maybe."

I feel like he's pushing more cheap crap. I know he says he's not.

"In the world of business, there is no value proposition left for most companies in controlling costs or even quality. All that outsourcing has leveled this playing field. Cost and quality are commoditized today, merely the price of entry to the competitive game."

This is a really important realization about the marketplace right now. In fact I think it supports my vision of the future.

"Design and design thinking—or innovation if you like--are the fresh, new variables that can bring advantage and fat profit margins to global corporations. In today’s global marketplace, being able to understand the consumer, prototype possible new products, services and experiences, quickly filter the good, the bad and the ugly and deliver them to people who want them—well, that is an attractive management methodology. Beats the heck out of squeezing yet one more penny out of your Chinese supply-chain, doesn’t it?"

See, this is the part where I feel like I'm being suckered into something I don't really care for.

"Let me emphasize this. I think managers have to BECOME designers, not just hire them. I think CEOs have to embrace design thinking, not just hire someone who gets it. I think many business schools have to merge with design schools, not just play poke and tickle with them."

Maybe what really needs to happen is business schools need to rethink what future business goals should be instead of trying to combine with with design schools. Not that there isn't something to learn from those partnerships, but come on businesspeople! DIY!

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Monday, July 2, 2007

Smart Textiles


Angel Chang, A/W 2007
Thermochromic ink on lining, fades with body heat

So this spring I was working with the up and coming fashion designer Angel Chang, and while the collaboration hasn't resulted in a finished project (price and production problems pretty much killed the piece), it was a good experience to work with a designer who's interested in similar techniques as I used in my graduate work at Central St Martins. Angel and I tried to bring my work with printed latex to her S/S 08 collection. She was interested in my ideas on clothes & prints that change over time. You can see the latex jackets I did at CSM here. My idea suited Angels' interests and we thought it would be a great new technique to add to her stable. It was my first time collaborating with another designer and I really enjoyed working with her. I also learned a lot about bringing one's own collection to market! (contracts, payment, costing, sourcing, buyers, whew!)

Angel is described on her website as someone who "explores bleeding-edge trends in fashion and technology." While we have slightly different interests in technology (narrative and time are more central to my work than the actual technology), I really admire her attempts to bring interactivity and new technology into the world of clothing and fashion. Angel's done a lot of work with thermochromic inks and 3-D print technology that I find fascinating. The other thing that I find admirable about Angel is that she is interested in collaboration and readily admits that the technology aspect is not her forte, but that she is determined to bring a wider audience to these techniques and experiences.

Below are some of the images from Angels first collection:


Angel Chang, S/S 2007
UV ink, print appears with sunlight


Angel Chang, S/S 2007
3-D print on hem

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