Uncertainty and innovation in fashion design

Generally speaking, psychologists have suggested three traditional views of how people cope with uncertainty. They are the certainty maximiser, the intuitive statistician-economist and the knowledge seeker (Smithson, 2008). In times of uncertainty, such as the recent global financial crisis, these coping methods often result in innovation in industry. Richards (2003) identifies innovation as different from creativity in that innovation aims to transform and implement rather than simply explore and invent. An examination of the work of iconic fashion designers, through case study and situational analysis, reveals that coping with uncertainty manifests itself in ways that have resulted in innovations in design, marketing methods, production and consumption. In relation to contemporary fashion, where many garments look the same in style, colour, cut and fit (Finn, 2008), the concept of innovation is an important one. This paper explores the role of uncertainty as a driver of innovation in fashion design. A key aspect of seeking knowledge, as a mechanism to cope with this uncertainty, is a return to basics. This is a problem for contemporary fashion designers who are no longer necessarily makers and therefore do not engage with the basic materials and methods of garment construction. In many cases design in fashion has become digital, communicated to an unseen, unknown production team via scanned image and specification alone. The disconnection between the design and the making of garments, as a result of decades of off-shore manufacturing, has limited the opportunity for this return to basics. The authors argue that the role of the fashion designer has become about the final product and as a result there is a lack of innovation in the process of making: in the form, fit and function of fashion garments. They propose that ‘knowledge seeking’ as a result of uncertainty in the fashion industry, in particular through re-examination of the methods of making, could hold the key to a new era of innovation in fashion design.

Fast hole surface conduction observed for indoline sensitizer dyes immobilized at fluorine-doped tin oxide - TiO2 surfaces

The indoline dyes D102, D131, D149, and D205 have been characterized when adsorved on fluorine-doped tin oxide (FTO) and TiO2 electrode surfaces. Adsorption from 50:50 acetonitrile - tert-butanol onto flourine-doped tin oxide (FTO) allows approximate Langmuirian binding constants of 6.5 x 10(4), 2.01 x 10(3), 2.0 x 10(4), and 1.5 x 10(4) mol-1 dm3, respectively, to be determined. Voltammetric data obtained in acetonitrile/0.1 M NBu4PF6 indicate reversible on-electron oxidation at Emid = 0.94, 0.91, 0.88, and 0.88 V vs Ag/AgCI(3 M KCI), respectively, with dye aggregation (at high coverage) causing additional peak features at more positive potentials. Slow chemical degradation processes and electron transfer catalysis for iodine oxidation were observed for all four oxidezed indolinium cations. When adsorbed onto TiO2 nanoparticle films (ca. 9nm particle diameter and ca.3/um thickness of FTO0, reversible voltammetric responses with Emid = 1.08, 1.156, 0.92 and 0.95 V vs Ag/AgCI(3 M KCI), respectively, suggest exceptionally fast hole hopping diffusion (with Dapp > 5 x 10(-9) m2 s-1) for adsorbed layers of four indoline dyes, presumably due to pie-pie stacking in surface aggregates. Slow dye degradation is shown to affect charge transport via electron hopping. Spectrelectrochemical data for the adsorbed indoline dyes on FTO-TiO2 revealed a red-shift of absorption peaks after oxidation and the presence of a strong charge transfer band in the near-IR region. The implications of the indoline dye reactivity and fast hole mobility for solar cell devices are discussed.

Luxury fashion: The role of innovation as a key contributing factor in the development of luxury fashion goods and sustainable fashion design

Luxury is a quality that is difficult to define as the historical concept of luxury appears to be both dynamic and culturally specific. The everyday definition explains a ‘luxury’ in relation to a necessity: a luxury (product or service) is defined as something that consumers want rather than need. However, the growth of global markets has seen a boom in what are now referred to as ‘luxury brands’. This branding of products as luxury has resulted in a change in the way consumers understand luxury goods and services. In their attempts to characterize a luxury brand, Fionda & Moore in their article “The anatomy of a Luxury Brand” summarize a range of critical conditions that are in addition to product branding “... including product and design attributes of quality, craftsmanship and innovative, creative and unique products” (Fionda & Moore, 2009). For the purposes of discussing fashion design however, quality and craftsmanship are inseparable while creativity and innovation exist under different conditions. The terms ‘creative’ and ‘innovative’ are often used inter-changeably and are connected with most descriptions of the design process, defining ‘design’ and ‘fashion’ in many cases. Christian Marxt and Fredrik Hacklin identify this condition in their paper “Design, product development, innovation: all the same in the end?”(Marxt & Hacklin, 2005) and suggest that design communities should be aware that the distinction between these terms, whilst once quite definitive, is becoming narrow to a point where they will mean the same thing. In relation to theory building in the discipline this could pose significant problems. Brett Richards (2003) identifies innovation as different from creativity in that innovation aims to transform and implement rather than simply explore and invent. Considering this distinction, in particular relation to luxury branding, may affect the way in which design can contribute to a change in the way luxury fashion goods might be perceived in a polarised fashion market, namely suggesting that ‘luxury’ is what consumers need rather than the ‘pile it high, sell it cheap’ fashion that the current market dynamic would indicate they want. This paper attempts to explore the role of innovation as a key contributing factor in luxury concepts, in particular the relationship between innovation and creativity, the conditions which enable innovation, the role of craftsmanship in innovation and design innovation in relation to luxury fashion products. An argument is presented that technological innovation can be demonstrated as a common factor in the development of luxury fashion product and that the connection between designer and maker will play an important role in the development of luxury fashion goods for a sustainable fashion industry.

A solution to fashion textile unsustainability

Today, polarisation of the fashion textile industry has already begun as smart, intelligent and conscientious fashion emerges as a backlash to the experience of choice fatigue, poor quality, dumb design and greenwash. But the process, development and manufacture of fashion textiles is complex. And the demand, both customer and industry driven, for new integrated product policies,2 designed to minimise environmental impacts by looking at all phases of a product's life cycle, is problematic due to complexity and a lack of networking tools. This article explores these issues through the construct of the department store of the future.

Sustainable fashion textiles research : engaging with new technologies

This article provides a discussion about how new technologies will enable Fashion Textiles Research to be disseminated amongst a new generation of producers and consumers via interactive and web technologies. How appropriate are these methods for Fashion Textiles Research? What are the advantages of these mediums and what will this mean for researchers, producers and consumers now and in the future, as the traditional platforms such as Journal Papers and Conferences, become obsolete? Can we predict the future of communicating textile research by assessing the way in which research is being conducted with the use of electronic databases, the Internet and with the emergence of electronic journals?

The development of fast bowling experts in Australian cricket

In this paper, we highlight key concepts from dynamical systems theory and complexity sciences to exemplify constraints on talent development in a sample of elite cricketers. Eleven international fast bowlers who cumulatively had taken more than 2,400 test wickets in over 600 international test matches were interviewed using an in-depth, open-ended, and semi-structured approach. Qualitative data were analysed to identify key components in fast bowling expertise development. Results revealed that, contrary to traditional perspectives, the athletes progressed through unique, nonlinear trajectories of development, which appears to be a commonality in the experts' developmental pathways. During development, individual experts encountered unique constraints on the acquisition of expertise in cricket fast bowling, resulting in unique performance adaptations. Specifically, data illustrated experts' ability to continually adapt behaviours under multifaceted ecological constraints.

A new and efficient intelligent collaboration scheme for fashion design

Technology-mediated collaboration process has been extensively studied for over a decade. Most applications with collaboration concepts reported in the literature focus on enhancing efficiency and effectiveness of the decision-making processes in objective and well-structured workflows. However, relatively few previous studies have investigated the applications of collaboration schemes to problems with subjective and unstructured nature. In this paper, we explore a new intelligent collaboration scheme for fashion design which, by nature, relies heavily on human judgment and creativity. Techniques such as multicriteria decision making, fuzzy logic, and artificial neural network (ANN) models are employed. Industrial data sets are used for the analysis. Our experimental results suggest that the proposed scheme exhibits significant improvement over the traditional method in terms of the time–cost effectiveness, and a company interview with design professionals has confirmed its effectiveness and significance.

Fast content-based file type identification

Digital forensic examiners often need to identify the type of a file or file fragment based only on the content of the file. Content-based file type identification schemes typically use a byte frequency distribution with statistical machine learning to classify file types. Most algorithms analyze the entire file content to obtain the byte frequency distribution, a technique that is inefficient and time consuming. This paper proposes two techniques for reducing the classification time. The first technique selects a subset of features based on the frequency of occurrence. The second speeds classification by sampling several blocks from the file. Experimental results demonstrate that up to a fifteen-fold reduction in file size analysis time can be achieved with limited impact on accuracy.

Luxury fashion : the significance of luxury fashion goods for sustainable fashion design

This paper extends the work of “Luxury fashion : the role of innovation as a key contributing factor in the development of luxury fashion goods and sustainable fashion design” (Finn, 2011). The discussion here begins with the observation that post consumer textile waste remains a major obstacle in realising a model of sustainable fashion design and production however, amongst the millions of tonnes of textile and clothing sent to landfill each year there is little evidence of authentic luxury branded goods ending life as landfill. The sustainable fashion movement often support approaches such as fashion up-cycle, re-cycle and cradle to cradle solutions. This paper argues that the priority should be to break the cycle of consumerism as an immediate intervention in ongoing unsustainable (and in some cases unethical) practices involved in the production of fashion goods. The connections between maker and consumer are explored through object analysis and the findings raise questions of the separation between luxury fashion goods and fashion goods that bear luxury fashion branding. This paper suggests that unethical and subversive exploitation of these connections may be used to promote increased consumerism while at the same time purporting exclusivity and superior craftsmanship.

Transgression and the everyday : art and fashion in the 1970s

Former Sex Pistols manager Malcolm McLaren has said that punk fashion truly began in New York. In the 1970s, New York was home to the burgeoning punk scene, Fluxus artists and Andy Warhol’s ‘Factory’. Trace the connections between designers, artists and the musicians who became fashion icons such as Robert Mapplethorpe, Patti Smith, Malcolm McLaren, Richard Hell, Lou Reed, and Andy Warhol with Alice Payne (PhD candidate).

What the experts think : fast bowling expertise acquisition and talent development

For applied sport scientists charged with developing talented performers an essential requirement is to identify components contributing to the development and maintenance of expertise. Previous qualitative analysis has revealed several psychological (e.g., mental focus, goal-setting and selfevaluation), socio-cultural (e.g. community and family support, cultural influence), physical (e.g., strength, height) and environmental (e.g., access to facilities and climate) constraints on successful Olympian development (Abbott et al., 2005). Open-ended interviews with expert athletes and/or expert coaches have been used to reveal competencies of elite performers to derive factors associated with success (Durand-Bush et al., 2002). However, the influence of these factors is likely to be sport-specific due to different task constraints and the changing nature of the performer-environment relationship through practice, coaching and competing (Vaeyens et al., 2008). So far, only one study on expertise acquisition in cricket has been undertaken. Weissensteiner, et al. (2009) found that development of expertise in cricket batting in Australia may be facilitated by early unstructured play (i.e. ‘backyard cricket’), a wide range of sport experience during development, and early exposure to playing with seniors.

Quantifying variability within technique and performance in elite fast bowlers : is technical variability dysfunctional or functional?

In fast bowling, cricketers are expected to produce a range of delivery lines and lengths while maximising ball speed. From a coaching perspective, technique consistency has been typically associated with superior performance in these areas. However, although bowlers are required to bowl consistently, at the elite level they must also be able to vary line, length and speed to adapt to opposition batters’ strengths and weaknesses. The relationship between technique and performance variability (and consistency) has not been investigated in previous fast bowling research. Consequently, the aim of this study was to quantify both technique (bowling action and coordination) and performance variability in elite fast bowlers from Australian Junior and National Pace Squads. Technique variability was analysed to investigate whether it could be classified as functional or dysfunctional in relation to speed and accuracy.