V2_ Knowledgebase

The one-year Fashion Design programme at maHKU consists of three parallel courses: Discipline, critical studies and your individual research project, creating an optimal mix of design and theoretical research.

This book tests the very definition of modernity and enhances our understanding of the role of fashion in the modern world. From top hats to locomotives, dresses to retail outlets, fashion is a prism through which modernity reflects and refracts. Breward and Evans bring together an organic collaboration of voices on this subject. The collection ranges from such topics as James Morrison (1789-1857), the Napoleon of Shopkeepers; to dress in the Stuart era; The Mannequin Parade, 1900-1925; and clothing the London actress (1860-1914). From the relationship between clothing and forensic sciences, to the play of performance, parasexuality, and the celebrity, Fashion and Modernity offers an enlightening look at fashion and the modern age.

An academic treatise that's beautiful enough to be a coffee table book, Evans's study argues that during the 1990s avant garde fashion was "permeated by images of death, disease and dereliction." Evans consciously focuses her work on one thread of the fashion world: the edgy costumes of designers like Vivienne Westwood, Alexander McQueen, John Galliano, Hussein Chalayan and Viktor & Rolf. Theoretically, however, she recognizes no boundaries: her treatise incorporates the disparate works of Walter Benjamin, Charles Baudelaire, T.S. Eliot, Karl Marx, Elizabeth Wilson, Simone de Beauvoir and many, many others. The result is a complex and provocative text, one that displays both the substantial intellect and practical curiosity of its author.

Design workshop at Gallery Room 103 in Auckland in Spring 2009, called Fashion Fianchettos. The workshop used live draping and algebraic topology to experiment with new ways of disseminating fashion, as a set of mathematical functions and minimal codes of new drapings that could be sent between fashionistas. With a handful of bandage clips and an oversized t-shirt, the workshop provided an experimental platform for algebraic notated fashion, as well as a laboratory connecting academic text, social media and practical draping.

Thesis: This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This social design practice can be called the hacktivism of fashion. It is an engaged and collective process of enablement, creative resistance and DIY practice, where a community share methods and experiences on how to expand action spaces and develop new forms of craftsmanship. In this practice, the designer engages participants to reform fashion from a phenomenon of dictations and anxiety to a collective experience of empowerment, in other words, to make them become fashion-able. As its point of departure, the research takes the practice of hands-on exploration in the DIY upcycling of clothes through “open source” fashion “cookbooks”. By means of hands-on processes, the projects endeavour to create a complementary understanding of the modes of production within the field of fashion design. The artistic research projects have ranged from DIY-kits released at an international fashion week, fashion experiments in galleries, collaborative “hacking” at a shoe factory, engaged design at a rehabilitation centre as well as combined efforts with established fashion brands. Using parallels from hacking, heresy, fan fiction, small change and professional-amateurs, the thesis builds a non-linear framework by which the reader can draw diagonal interpretations through the artistic research projects presented. By means of this alternative reading new understandings may emerge that can expand the action spaces available for fashion design. This approach is not about subverting fashion as much as hacking and tuning it, and making its sub-routines run in new ways, or in other words, bending the current while still keeping the power on.

Syuzi Pakhchyan is an User Experience Designer, robotics instructor, writer, blogger and a seasoned tinkerer working and residing in Los Angeles, CA. Her work explores the intersection of culture and technology through the research, investigation and design of technological systems and interactions for a range of cultural contexts.

Since the advent of cinema, visual art has tended to be perceived as if it were in motion. Artists now create less often in fresco or carved stone and more on film and tape, on the dance stage, or in the ever changing, ever moving medium of clothes. In this remarkable collection, Anne Hollander ranges over art of the twentieth and other centuries with unusual depth of historical insight to explore these rich, diverse visual treasures and the underlying themes that connect them.

a collection of software related to weaving and knitting

This scarf is knit with the Fibonacci number pattern. Famous in the mathematics world, the Fibonacci number pattern is created by adding a number to the previous number: 0,1, 1, 2, 3, 5, 8, 13, 21, 34… (2 comes from adding 1 + 1, 3 comes from adding 2 + 1). This is no ordinary number sequence. The Fibonacci number patterns are found in nature in the seed placement of a sunflower, the pattern on a pine cone, and the uncurling of a fern. The number pattern creates a golden spiral and is used in financial predictions and for computer algorithms. This scarf is knit with the Fibonacci numbers in order: 1, 1, 2, 3, 5, 8, 13, and 21. As the scarf is knit, the new number of stitches is added to the previous number of stitches to get the next number of stitches. Thus the knitting method is also influence by the Fibonacci formula.

Internationally recognized college for design, fashion, art, communications, and business.

Development and production of shape memory alloy products

The Fraunhofer-Gesellschaft carries out research in hundreds of technology fields and makes the results available as patents, licenses, further training opportunities, and particularly in the form of research projects commissioned by industry. Innovation is dynamic and topics and research areas continue to adapt to market requirements and technologies.

Futurelab is work to date covers a range of both topical and forward-thinking areas including, among others, curriculum innovation; learning spaces and building capital programmes; digital inclusion; health and well-being; play and computer games; adult and family learning; assessment; and digital literacy and participation.

This valuable little book offers a thorough introduction to the open-source electronics prototyping platform that's taking the design and hobbyist world by storm. Getting Started with Arduino gives you lots of ideas for projects and helps you get going on them right away. To use the introductory examples in this book, all you need is a USB Arduino, USB A-B cable, and an LED. This 128-page book is a greatly expanded follow-up to the author's original short PDF that's available on the Arduino website.

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