by bernadette.poessnicker -

03/03 Meilensteine, Pionier:innen und Animationsfilme

Die Animation als Kunstform entwickelte sich zu Beginn des 20. Jahrhunderts, als Künstler:innen verschiedener Strömungen das bewegte Bild als neues Medium entdeckten, um Bewegung in ihre Gemälde und grafischen Designs zu integrieren. In „Animation: Art and History“ wird Leopold Survage erwähnt, der versuchte, abstrakte Malereien in animierte Sequenzen zu überführen, was jedoch zunächst nicht gelang. Ein Durchbruch der abstrakten Animation fand in den 1920er und 1930er Jahren statt, als Künstler wie Oskar Fischinger, Len Lye und Norman McLaren 35-mm-Filme produzierten, die häufig durch Werbetreibende oder staatliche Institutionen finanziert wurden.

Lotte Reininger
Als eine der Schlüsselpersonen für die Entwicklung der Animation ist im deutschsprachigen Raum Lotte Reiniger zu nennen. Sie beeinflusste die frühe Entwicklung der Animation, besonders durch ihre innovative Nutzung der Scherenschnitttechnik. Ihr erster Animationsfilm, die Abenteuer des Prinzen Achmed, gilt als einer der ersten Spielfilme dieser Art und war wegweisend in der Animationsgeschichte. Mit einem kleinen Team gelang es ihr, innerhalb von drei Jahren den ersten animierten Film, bestehend aus Figuren mit realistischen Proportionen zu gestalten und Animation als ernstzunehmende Kunstform zu etablieren. Während der Produktion war sie für die Handlung, die Fertigung der Figuren und die Animation der Figuren verantwortlich.

Trotz des Erfolgs von Prinz Achmed in England und Frankreich blieb Reiniger in der breiten Öffentlichkeit weitgehend unbekannt, was teilweise an der mangelnden Verfügbarkeit guter Kopien ihrer Werke lag. Dennoch bleibt ihr Einfluss auf die Animation nachhaltig, da sie das Potenzial der Animation als künstlerische Ausdrucksform maßgeblich mitgestaltete und eine eigene Ästhetik entwickelte.

Innovationen in Amerika
Nachdem Disney den Charakter Oswald aufgegeben hatte und Mortimer (Mickey) Maus entstand, wurde in den 1920er Jahren die erste Disney-Animation, Plane Crazy gestaltet. Steamboat Willie war der erste Film, der erfolgreich Ton und Animation synchronisierte, was zu der Technik des „Mickey Mousing“ führte, bei der Geräusche und Bewegungen perfekt aufeinander abgestimmt wurden. Disney verband in den „Silly Symphonies“ Musik und Bewegung zu einer künstlerischen Einheit. Mickey Mouse wurde international populär und trug zur Entwicklung eines weitreichenden Film- und Merchandising-Imperiums bei. Obwohl viele der vermeintlichen Disney-Innovationen bereits zuvor getestet oder entwickelt wurden, wusste Walt Disney, zu welcher Zeit neue Ideen und Techniken dem Publikum gezeigt werden sollten. Er führte Storyboards ein, deren Nutzen in anderen Studios zu der Zeit noch umstritten war. Außerdem setzte er als einer der Ersten das Technicolor Verfahren ein und die Multipan Kamera, um räumliche Tiefe zu erzeugen.

Eine weitere Innovation war der bis dahin undenkbare, abendfüllende Animations-Spielfilm. Schneewittchen und die sieben Zwerge war in den 1930er Jahren das Projekt, das in der Branche „Disneys Irrsinn“ genannt wurde. Für eine damals große Summe von zwei Millionen Dollar realisierten Walt und Roy Disney den ersten abendfüllenden Animations-Spielfilm. Zum einen war Schneewittchen und die sieben Zwerge ein großer Meilenstein für die Animationsfilmbranche. Zum anderen war die Branche nach dem Erfolg von Disney sehr geprägt von den Wertevorstellungen seiner Filme – Realismus, Lieder und Detailfreude. Im Kurzfilm-Genre konnten weiterhin avantgardistische Ideen verfolgt werden, während animierten Spielfilmen mit denselben Erwartungen wie Disney begegnet wurde.

Internationale Kurzfilme der 1940er und 1950er Jahre
Obwohl im NS-Staat abstrakte Kunst verboten war, entstanden einige wenige Werke wie das Strich-Punkt-Ballett von Herbert Seggelke. Er zeichnete beim Strich-Punkt-Ballett Elemente mit einem Fettstift auf den Zelluloidstreifen, begleitet von Jazzmusik. Viele Künstler:innen, darunter auch Oskar Fischinger emigrierten in die USA und prägten dort das experimentelle Animationskino. Fischinger entwickelte viele Arbeiten abseits der Studios, um seine künstlerische Identität ausleben zu können. Ab zirka 1934 entwickelte sich in den USA eine Regieszene, mit Fokus auf Abstraktion, Oskar Fischinger diente vielen von ihnen als Vorbild.

Internationale Kurzfilme der 1960er Jahre

In den 1960er Jahren entwickelte sich die internationale Animationsszene weiter. Fernsehstudios setzen primär auf standardisierte Inhalte für das Kinderprogramm während viele Animationskünstler nach Wegen suchten, um ihre Ideen von künstlerischen und gesellschaftskritischen Kurzfilmen zu realisieren. In der Sowjetunion gelingt Fedor Chitruk mit „Geschichte eines Verbrechens“ ein wegweisender Film, der soziale Realität kritisch reflektiert. Dies inspirierte verschiedene andere Regisseure, wobei viele Arbeiten der Zensur unterworfen waren. 1968 wurden die ersten realen Menschen in einem Animationsfilm dargestellt. Der Spielfilm Yellow Submarine wurde von zwei kanadischen Trickfilmern geplant, gemeinsam mit dem Grafiker Heinz Edelmann entwickelten sie einen Animationsfilm, geprägt von der Flower-Power-Zeit in einem bunten, surrealistischem Stil.

Seit den 1980er Jahren entwickelt sich der künstlerische Animationsfilm konstant weiter. Besonders in Europa entsteht eine lebendige Szene, die durch Kunsthochschulen, Festivals und innovative Techniken gefördert wird. Der Animationsfilm nutzt seinen bildnerischen Ausdruck als primäre Sprache und entwickelt ständig neue Stile.

Basgier, Thomas: Pioniere des Animationsfilms. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Basgier, Thomas: Internationale Kurzfilme der 1940er und 1950er Jahre. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Basgier, Thomas: Internationale Kurzfilme der 1960er und 1970er Jahre. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Friedrich, Andreas/Henz, Dominique: Schneewittchen und die sieben Zwerge. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Gruner, Götz: Internationale Kurzfilme seit den 1980er Jahren. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Leslie, Esther: it’s mickey mouse. In: Furniss, Maureen (Hrsg.): Animation. Art & History. New Barnet: Libbey Publishing Ltd 2012, S. 21 – 25

Moritz, William: Some Critical Perspectives on Lotte Reiniger. In: Furniss, Maureen (Hrsg.): Animation. Art & History. New Barnet: Libbey Publishing Ltd 2012, S. 14 – 19

Platthaus, Andreas: Die Abenteuer des Prinzen Achmed. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Starr, Cecile: Fine Art Animation. In: Furniss, Maureen (Hrsg.): Animation. Art & History. New Barnet: Libbey Publishing Ltd 2012, S. 9 – 11

Vossen, Ursula: Yellow Submarine. In: Friedrich, Andreas (Hrsg.): Filmgenres. Animationsfilm. Stuttgart: Philipp Reclam jun. 2012

Dieser Text wurde mit Hilfe von ChatGPT 4o auf Beistrichfehler sowie Grammatik- und Rechtschreibfehler korrigiert. Der inhaltliche Kern der Arbeit ist davon unberührt.

by bernadette.poessnicker -

03/02 The Illusion of Life: 12 Animationsprinzipien

Die 12 Animationsprinzipien nach The Illusion of Life: Disney Animation

Die 12 Animationsprinzipien, die von den Disney-Animatoren Ollie Johnston und Frank Thomas in The Illusion of Life: Disney Animation veröffentlicht wurden, sind wichtige Werkzeuge für die Gestaltung von natürlichen, flüssigen Animationen. Die Prinzipien entstanden durch praktische Erfahrungen in den Disney-Studios und wurden über Jahre hinweg weiterentwickelt, um Bewegungen natürlicher, flüssiger und überzeugender zu gestalten. Sie helfen Animator:innen nicht nur dabei, realistische Bewegungen zu erzeugen, sondern auch, die Persönlichkeit und das Verhalten der Charaktere visuell zu kommunizieren. Aus diesem Grund plant die Autorin, die Character Animationen des Werkstücks auf diesen Prinzipien aufzubauen.

1. Squash and Stretch

Das Prinzip Squash and Stretch wird von den Autoren des Buchs als eines der wichtigsten Werkzeuge der Animation genannt. Es beschreibt die Veränderung der Form eines Objekts oder Charakters während einer Bewegung. Squash und Stretch verleiht Objekten Elastizität und Dynamik. So wird beispielsweise ein springender Ball beim Aufprall abgeflacht (Squash) und in der Flugphase gestreckt (Stretch). Diese Technik hilft dabei, die physikalischen Eigenschaften eines Objekts zu vermitteln und die Wirkung der Bewegung zu verstärken. Besonders in der Charakteranimation sorgt Squash and Stretch dafür, dass Figuren lebendiger und flexibler wirken.

2. Anticipation

Anticipation bezeichnet die Vorbereitung auf eine Bewegung und ist essenziell, um dem Publikum bevorstehende Handlungen verständlich zu machen. Dies geschieht durch eine kleine Gegenbewegung oder Verzögerung vor der eigentlichen Bewegung. Als Beispiel wird von den Autoren ein Golfspieler genannt, der seinen Arm zurückzieht, bevor er den Ball schlägt. Ohne diese Vorbereitung würde die Bewegung abrupt und unnatürlich wirken. Das Prinzip erhöht außerdem die Glaubwürdigkeit der Animation, da es der Art und Weise entspricht, wie sich Menschen und Tiere in der Realität bewegen.

3. Staging

Das Prinzip des Staging bezieht sich auf die klare und eindeutige Präsentation einer Szene, um die Aufmerksamkeit des Publikums gezielt zu lenken. Dies kann durch bewusste Komposition, Kamerapositionierung, Beleuchtung oder Bewegungsmuster erreicht werden. Eine gut gestaltete Szene stellt sicher, dass das Publikum die wichtigsten Handlungen, Emotionen oder Stimmungen sofort erfassen kann. In den frühen Disney-Animationen verwendeten die Animatoren oft Silhouetten. Figuren wie Mickey Maus waren schwarz, was dazu führte, dass Details verloren gehen konnten. Durch klare Posen, die auch in Silhouetten-Form funktionierten, konnte dennoch eine eindeutige Lesbarkeit erreicht werden.

4. Straight Ahead Action und Pose to Pose

Diese beiden Methoden beschreiben unterschiedliche Herangehensweisen an die Animation von Bewegungen. Straight Ahead Action bedeutet, dass eine Bewegung von der ersten Zeichnung an ohne vorherige Planung in chronologischer Reihenfolge erstellt wird. Diese Methode führt zu spontanen und organischen Animationen und eignet sich deswegen besonders für unvorhersehbare oder dynamische Bewegungen. Pose to Pose hingegen basiert auf einer strukturierten Planung: Die wichtigsten Schlüsselposen werden zuerst erstellt, anschließend werden die Zwischenbilder eingefügt. Diese Methode ermöglicht eine präzisere Kontrolle über die Bewegung und eignet sich gut für komplexe Szenen.

5. Follow Through und Overlapping Action

Diese Prinzipien sorgen für realistische Bewegungen, indem sie berücksichtigen, dass verschiedene Körperteile sich nicht gleichzeitig bewegen oder stoppen. Follow Through beschreibt das Nachschwingen eines Körperteils, wenn die Hauptbewegung bereits zum Stillstand gekommen ist. Beispielsweise schwingen Haare oder andere Körperteile nach einer abrupten Bewegung noch leicht weiter. Overlapping Action bedeutet, dass verschiedene Teile eines Körpers nicht exakt zur selben Zeit starten oder enden.

6. Slow In and Slow Out

Dieses Prinzip beschreibt die Beschleunigung und Verzögerung einer Bewegung. Anstatt dass eine Bewegung abrupt beginnt und endet, wirkt sie durch das Einfügen von mehr Zwischenzeichnungen am Anfang und Ende sanfter.

7. Arcs

Die meisten natürlichen Bewegungen folgen einer bogenförmigen, anstatt einer geraden Linie. Beispielsweise schwingt ein Arm beim Winken in einer leichten Kurve und nicht in einer geraden Linie von Punkt A nach Punkt B. Das Prinzip der Arcs trägt dazu bei, dass Bewegungen natürlicher und organischer wirken.

8. Secondary Action

Secondary Actions sind unterstützende Bewegungen, die die Hauptbewegung verstärken, aber nicht von ihr ablenken. Als Beispiel nennen die Autoren einen nachdenklichen Charakter, der sich während eines Gesprächs an den Kopf fasst oder mit den Fingern spielt. Diese kleinen Gesten verleihen Charakteren Tiefe und machen sie glaubwürdiger. Entscheidend ist hierbei, dass die Nebenhandlung nicht den Fokus des Publikums ablenkt.

9. Timing

Das Prinzip des Timings beeinflusst, wie schnell oder langsam eine Bewegung abläuft. Durch die Anzahl der Zeichnungen, die für eine bestimmte Bewegung verwendet werden, kann eine Szene unterschiedliche Bedeutungen erhalten. Ein schneller Schritt kann Aufregung oder Eile zeigen, während eine langsame Bewegung Müdigkeit ausdrücken kann.

10. Exaggeration

Exaggeration oder Übertreibung ist ein zentrales Merkmal der Disney-Animation. Es geht darum, Bewegungen, Emotionen oder Charakterzüge übertrieben darzustellen, um ihre Wirkung zu verstärken. Darunter verstehen die Disney-Animatoren nicht, dass die Animation unrealistisch wirken soll, sondern dass sie eine Karikatur der Realität darstellt.

11. Solid Drawing

Die Animatoren sind von der Wichtigkeit guter Zeichenfähigkeiten überzeugt. Ein Charakter sollte nicht als flache Figur erscheinen, sondern Volumen besitzen. Disney-Animatoren trainierten, Figuren aus jedem Blickwinkel zu zeichnen, um sicherzustellen, dass sie sie glaubwürdig im Raum bewegen können. Eine gut gezeichnete Figur kann sich frei und organisch bewegen, ohne dass ihre Proportionen ungewollt verzerrt werden.

12. Appeal

Appeal bezieht sich auf die Attraktivität eines Charakters oder einer Szene. Eine Figur sollte so gestaltet sein, dass sie für das Publikum ansprechend oder einprägsam wirkt. Dies bedeutet nicht unbedingt, dass ein Charakter schön sein soll – auch Schurken oder groteske Figuren können durch ihre Gestaltung eine starke visuelle Wirkung haben. Ein ansprechendes Design zeichnet sich laut den Autoren durch klare Formen, ausdrucksstarke Posen und einen durchgehenden Stil aus.

Anwendung der Prinzipien im animierten Trailer

Die Animationsprinzipien werden bei der Gestaltung des Trailers für das Kartenspiel eine Rolle spielen. Besonders in den Kampfszenen, in denen die Figuren in schnellen, kraftvollen Bewegungen aufeinander reagieren, wird das Prinzip Squash and Stretch helfen, die Wucht von Treffern zu verstärken. Auch Anticipation wird für die Character Animation relevant sein, damit jede Bewegung klar und natürlich wirkt. Damit die Bewegungen nicht abrupt oder künstlich wirken, wird Slow In and Slow Out zum Einsatz kommen.  

Die dystopischen Szenen hingegen erfordern eine andere Herangehensweise. Hier geht es weniger um schnelle Bewegungen als um Atmosphäre.

Für die Weltraum-Sequenzen wird das Prinzip Arcs eine Rolle spielen. Damit die Bewegung des Raumschiffs nicht starr und mechanisch wirkt, werden die Flugbahnen aus weichen geschwungenen Pfaden bestehen. Abhängig von der Gestaltung des Storyboards für den Trailer werden die Prinzipien auf unterschiedliche Weise für die einzelnen Bilder eingesetzt werden.

Thomas, Frank/Johnston, Ollie: The Illusion of Life. Disney Animation. New York: Hyperion 1995, S. 47 – 70

Dieser Text wurde mit Hilfe von ChatGPT 4o auf Beistrichfehler und Grammatik- und Rechtschreibfehler korrigiert. Der inhaltliche Kern der Arbeit ist davon unberührt.

by helene.goedl -

30 | Digital Fashion – Practical Work: Comparing the Digital Fashion Design Process to the Traditional Fashion Design Process

In this final blog entry, I want to reflect on the digital fashion design process, especially compared to the traditional fashion design process and approaches I discussed in the previous entry. With this exploration, I want to relay the experiences I have had so far while designing digital clothing pieces that are meant to be digital end products and anticipate possible challenges as well as opportunities for new creative potential. 

Just as in the traditional fashion design process, the starting point for digital fashion design is often a phase of intensive research and collecting sources of inspiration. As opposed to the traditional design process, the sources this inspiration might be drawn from can gravitate towards digital instances. It is common that the final environment the design will be shown in influences the process of collecting impulses. In traditional design, this accordingly can include historical and cultural influences, art, nature, and personal experiences1. The digital process can very well include the step of creating a mood board to organise ideas through images, color palettes, textures, and patterns for inspiration2. Overall, this step of the process can look very similar to the analog fashion design process with a possible wider range of inspiration sources that can be included.

In the conceptualisation and sketching phase, my experience has shown that for a digital design, the tools for this step are more likely to be digital. In my processes so far, I have used reference materials and 3D models to capture the general direction I want for the final garment. I have also found that the sketching process is less important to me, because I have felt that moving straight into the 3D program and starting to model is sometimes easier and the more direct root for externalising my thoughts and explore possibilities.

Design boards are a step I have skipped in the digital process so far, but since I have so far only designed individual digital pieces, I might incorporate the creation of a design board for the development of a cohesive collection. Showcasing each design’s fabrics, colours, and details, will be important to visualise how the pieces will work together in a cohesive collection2.  

In the fabric selection step, the digital process differs most significantly from the traditional process. Since there is no tangible fabric, the selection of digital “materials” depends much more on their behaviour and movement on the model. What I found interesting in the digital process is that I can test different materials straight on the finished or in-progress model of the piece. I can make a pre-visualisation and see how the chosen material moves, how it works with the cut of the piece and if it has any behaviours that do not work with the piece. From the factors influencing fabric selection in the traditional fashion design process – such as weight, texture, drape, durability, and maintenance requirements2 – only the factors of texture, weight and drape can really translate into the digital process.

Creating prototypes or samples is significantly more integrated with the concept phase in digital fashion design. The lines between sketching, prototyping, and final product are not as strict because changes are more easy to make on digital garments. Testing the fit, functionality, and appearance of the designs on real or dummy models in the traditional fashion design process usually translates to testing the garment on an animated moving model in the digital process. In this stage, it is crucial to see if the digital model creates problems in the interaction with the movement of the model, such as clipping or unanticipated movements.

The question of sustainability is also relevant for digital fashion design. Digital fashion has been discussed as a vehicle for enabling a more sustainability in the fast-paced fashion system3. Short-lived trends and experimental ideas can be explored more quickly and without resource waste in the digital space. It should be noted however, that digital tools can also be a strain on the environment, especially when they require high computing power such as 3D rendering.

The fashion design process, whether traditional or digital remains a complex journey that combines creativity, technical skill, and market awareness. The iterative nature of the process is even more prominent in the digital process, with a higher potential for designers to constantly evaluate and adjust their ideas throughout the development of a collection. One significant feature of the digital design process that has already come to light in my limited experience is the more fluent progression through the design steps. While the fluency is also present in the traditional process, the malleability of digital objects makes it even easier and invites it even more. Through my masters thesis, I hope to gain even more insights and make more concrete observations on the digital fashion design process and contribute to the establishment of the digital fashion design field in design research. 

1 Kapoor, “Fashion Designing and Fashion Trends in Current Scenario.”
2 Southwell, “Starting a Collection: The Fashion Design Process Explained.”
3 Driever, “Digital Fashion and the Environment – Can ‘Digital Fashion’ Be Used as a Medium for Sustainability in the Fashion Industry?”

Sources: 

Driever, Anne B. C. Digital Fashion and the Environment – Can “Digital Fashion” Be Used as a Medium for Sustainability in the Fashion Industry?, 2023.

Kapoor, Deepa. “Fashion Designing and Fashion Trends in Current Scenario.” International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 27, 2023): 1491–94. https://doi.org/10.22214/ijraset.2023.48852.

Southwell, Elaine. “Starting a Collection: The Fashion Design Process Explained.” Elaine Southwell Designs (blog), November 30, 2023. https://elainesouthwelldesigns.com/fashion-design-process-2/.

by helene.goedl -

29 | Digital Fashion – Practical Work: Exploring the Traditional Fashion Design Process

Fashion designers approach the creation of a collection through a complex and multifaceted process that combines creativity, technical skill, and market awareness. This blog entry will explore the various approaches taken by different fashion designers in developing their collections, with a particular focus on their design processes.

For many designers, the design process typically begins with extensive research and gathering inspiration. Designers draw from a wide range of sources, including historical and cultural influences, art, nature, and personal experiences1. This initial phase is crucial for defining the collection’s theme, mood, and overall direction. For instance, some designers create mood boards to organise their ideas, incorporating images, color palettes, textures, and patterns that inspire them2.

Once the inspiration is established, designers move on to conceptualisation and sketching. This stage involves translating abstract ideas into concrete designs. Sketching serves as a vital tool for fashion designers to externalise their thoughts and explore various possibilities.

After initial sketches are created, designers refine their ideas and develop more detailed design boards. These comprehensive layouts showcase each design’s fabrics, colors, and details, helping to visualise how the pieces will work together in a cohesive collection2. This stage often involves experimentation with unique design elements, such as embroidery, appliqués, or unconventional silhouettes, to make the collection stand out2.

The design process often continues with fabric selection and color theory. The choice of fabrics and colours plays a crucial role in the design process. Designers carefully select materials based on factors such as weight, texture, drape, durability, and maintenance requirements2. Color theory is also applied to create a mood that resonates with the target audience and reflects the brand’s identity2.

Once designs are finalised on paper, the next step is creating prototypes or samples. These are physical representations of the garments made from chosen fabrics and materials. Samples are used to test the fit, functionality, and appearance of the designs on real or dummy models. This stage often involves multiple fittings and adjustments to refine the designs and ensure quality and consistency across the collection.

Some designers adopt a collaborative approach to the design process. For instance, a study of US undergraduate clothing design students revealed how team-based learning strategies can be implemented in conceptual clothing design. In this approach, students worked cooperatively to develop a group collection under a shared theme, with each student creating an outfit that contributed to a cohesive collection3.

In recent years, there has been a growing trend towards sustainable and ethical fashion design. Some designers are incorporating eco-friendly materials and production methods into their process. This can also lead to the rediscovery of traditional craftsmanship and methods. As an example, a practice-based research project by fashion designer Allegra Jane focused on creating a sustainable fashion collection using eco-friendly handloom weaving for the Australian market4. This approach involved learning about the cultivation of eri silkworms for peace silk production and exploring natural weaving and dyeing processes to reinforce sustainable design concepts4.

In addition to rediscovering traditional methods, some designers seek inspiration from unconventional sources to innovate their design process. This can also involve seeking inspiration from other disciplines’ design process. A study examined the application of creative bridge or creative leap theory in developing a garment collection using an architect’s creative design process5. This approach aimed to foster creativity in designers through non-traditional methods, potentially benefiting the education and practice of apparel designers5.

The fashion design process is a complex journey that combines creativity, technical skill, and market awareness. While individual approaches may vary, most designers follow a general framework that includes research, conceptualisation, sketching, fabric selection, prototyping, and refinement. The process is often iterative, with designers constantly evaluating and adjusting their ideas throughout the development of a collection.

As the fashion industry evolves, designers are increasingly incorporating sustainable practices, collaborative approaches, and innovative techniques into their design processes. These developments reflect the industry’s response to changing consumer preferences, environmental concerns, and technological advancements.

Understanding the diverse approaches to fashion design not only provides insight into the creative process but also highlights the complexity and depth of thought that goes into creating a successful fashion collection. As the industry continues to evolve, it is likely that we will see further innovations in design processes, driven by technological advancements, sustainability concerns, and changing consumer demands.

In the next blog entry, I will explore how the design process might translate to the process of designing a digital fashion collection, which aspects will remain similar and which might pose challenges or offer new opportunities for incorporating new and innovative methods in the design journey.

1 Kapoor, “Fashion Designing and Fashion Trends in Current Scenario.”
2 Southwell, “Starting a Collection: The Fashion Design Process Explained.”
3 Sohn and Kim, “Conceptual Clothing Design Process Using Cooperative Learning Strategies: Senior Clothing Design Class.”
4 Teowarang, Kurniawan, and Van Lunn, “Creating Sustainable Fashion Collection Made of Handloom Textile for Australian Market.”
5 Mcroberts, Freeman, and Thibodeaux, “Creative Apparel Design Process Approach Using Architectural and Artistic Influence.”

Sources: 

Kapoor, Deepa. “Fashion Designing and Fashion Trends in Current Scenario.” International Journal for Research in Applied Science and Engineering Technology 11, no. 1 (January 27, 2023): 1491–94. https://doi.org/10.22214/ijraset.2023.48852.

Mcroberts, Lisa Barona, Charles Edward Freeman, and Julianne Thibodeaux. “Creative Apparel Design Process Approach Using Architectural and Artistic Influence.” International Journal of Costume and Fashion 15, no. 2 (December 31, 2015): 79–91. https://doi.org/10.7233/ijcf.2015.15.2.079.

Sohn, MyungHee, and Dong-Eun Kim. “Conceptual Clothing Design Process Using Cooperative Learning Strategies: Senior Clothing Design Class.” Fashion, Industry and Education/International Journal of Costume Culture 14, no. 1 (June 30, 2016): 59–68. https://doi.org/10.7741/fie.2016.14.1.059.

Southwell, Elaine. “Starting a Collection: The Fashion Design Process Explained.” Elaine Southwell Designs (blog), November 30, 2023. https://elainesouthwelldesigns.com/fashion-design-process-2/.

Teowarang, Janet Rine, Michael Nathaniel Kurniawan, and Carla Van Lunn. “Creating Sustainable Fashion Collection Made of Handloom Textile for Australian Market.” CORAK 11, no. 1 (October 30, 2022): 23–40. https://doi.org/10.24821/corak.v11i1.6842.

by helene.goedl -

28 | Digital Fashion – The Societal Role of Clothing Throughout History

Throughout history, clothing has played a pivotal role in shaping society, reflecting cultural values, social hierarchies, and technological advancements. This blog entry explores some of the most significant developments in the societal role of clothing, highlighting how garments have evolved from mere protective coverings to powerful symbols of identity, status, and cultural expression.

Clothing has developed from a necessity to a social signifier. In its earliest form, clothing served primarily as protection against the elements. However, as human societies developed, so did the functions of clothing. One of the most important shifts was the emergence of clothing as a social signifier. During the long eighteenth century, for instance, textiles became crucial in defining gender, rank, and race in the context of British imperial expansion1. The emphasis on whiteness in both skin and cloth symbolised social status and racial hierarchy, with pristine garments representing social „whiteness“1.

This period saw the rise of opulent societal lifestyles among the elite, characterised by events such as masquerade balls, which further reinforced social hierarchies and the imperial ethos of race1. The maintenance of these pristine garments, largely performed by low-ranked and racialised women, underscored the intersectionality of class, race, and gender in clothing’s societal role1.

Garments have also shaped our cultural identity in the form of traditional garments. As societies became more complex, traditional clothing emerged as a powerful reflection of cultural identity. Garments like the Japanese kimono, Indian sari, and Jordanian thobe came to embody the history, values, and craftsmanship of their respective communities2. These traditional clothes were not just aesthetic choices but served as visual representations of cultural heritage and social identity. The significance of traditional attire extends beyond mere appearance. These garments are often influenced by environmental conditions, historical events, and societal practices2. For instance, in Kenya, self-adornment plays a crucial role in ensuring the continuity of political, socio-cultural, and ethno-moral principles of communities3. Whether through permanent marks like tattoos or temporary decorations like makeup and clothing, adornment serves as a way of signalling an individual’s place in society, marking special moments, or celebrating life transitions3. Similar uses of fashion are documented in cultures across the world.

Fashion could also be used as a tool of oppression as well as liberation. The relationship between fashion and societal power structures, particularly in the context of gender, has been a significant aspect of clothing’s role throughout history. Fashion has often been considered a mechanism of oppression, with restrictive garments physically and metaphorically constraining women to fit into narrow, idealised standards of beauty dictated by patriarchal societies4. However, the feminist movement has actively challenged and rejected these restrictive garments, defying norms and advocating for women’s autonomy in clothing choices4. This shift represents a crucial development in the societal role of clothing, transforming it from a tool of oppression to a means of empowerment and self-expression.

In modern times, the advent of globalisation has had a profound impact on the role of clothing in society. While traditional garments continue to hold cultural significance, they are increasingly influenced by modern fashion trends2. This intersection of tradition and modernity has led to new forms of cultural expression through clothing, often blending elements from different cultures. Moreover, the rise of fast fashion and mass production has democratised access to trendy clothing but has also raised concerns about sustainability and ethical production practices. In response, there has been a growing interest in sustainable and circular fashion, with initiatives like recycling clothing waste gaining traction5.

A fascinating recent development in our understanding of clothing’s societal role is its impact on the human microbiome, particularly that of the skin. Despite our long history with clothing, little was known about this interaction until recently6. Research in this area has opened up new perspectives on the relationship between clothing and human health, potentially influencing future textile development and hygiene practices.

The societal role of clothing has undergone significant transformations throughout history. From its origins as basic protection to its current status as a complex system of cultural signifiers, fashion trends, and even microbial ecosystems, clothing continues to evolve alongside human society. As we move forward, the challenge lies in balancing the cultural significance of traditional garments with the demands of modern life and sustainability concerns.

The study of clothing’s role in society offers valuable insights into human culture, social structures, and technological progress. As we continue to explore this rich field, we gain a deeper understanding of how something as seemingly simple as the clothes we wear can profoundly shape our interactions, identities, and the very fabric of our societies. The short cross-section of these developments of course have implications for the extended and transformed societal roles digital fashion might take on in the future.

1 Lemire, “Empire and the Fashioning of Whiteness: Im/Material Culture in the British Atlantic World, C. 1660–1820.”
2 Shurman and Qaqish, “Traditional Clothes Around the World: A Cultural Reflection.
3 Nyambura, “Celebrating Adornment in Kenya’s Diverse Cultures.”
4 Jamal and Mohammed, “Fashion and Feminism: A Theoretical and Historical Background.”
5 Hamdan, “A Survey of the Role of Charity Societies in Recycling Clothing Waste and the Extent of Their Societal Impact in Saudi Arabia.”
6 Sanders, Grunden, and Dunn, “A Review of Clothing Microbiology: The History of Clothing and the Role of Microbes in Textiles.”

Sources: 

Hamdan, Najla Ibrahim Bin. “A Survey of the Role of Charity Societies in Recycling Clothing Waste and the Extent of Their Societal Impact in Saudi Arabia.” Sustainability 15, no. 14 (July 21, 2023): 11380. https://doi.org/10.3390/su151411380.

Jamal, Fatima Salah, and Awfa Hussein Mohammed. “Fashion and Feminism: A Theoretical and Historical Background.” Journal of Tikrit University for Humanities 30, no. 12, 2 (December 30, 2023): 90–114. https://doi.org/10.25130/jtuh.30.12.2.2023.14.

Lemire, Beverly. “Empire and the Fashioning of Whiteness: Im/Material Culture in the British Atlantic World, C. 1660–1820.” The Journal of Interdisciplinary History 55, no. 1 (January 1, 2024): 57–87. https://doi.org/10.1162/jinh_a_02032.

Nyambura, Ruth, Tom Nyamache and Peter Ndirangu Waweru. “Celebrating Adornment in Kenya’s Diverse Cultures.” (2013).

Sanders, Deaja, Amy Grunden, and Robert R. Dunn. “A Review of Clothing Microbiology: The History of Clothing and the Role of Microbes in Textiles.” Biology Letters 17, no. 1 (January 1, 2021). https://doi.org/10.1098/rsbl.2020.0700.

Shurman, Ali, and Raed Qaqish. “Traditional Clothes Around the World: A Cultural Reflection.” IOSR Journal of Humanities and Social Science 29, no. 12 (December 1, 2024): 01–04. https://doi.org/10.9790/0837-2912020104.

by helene.goedl -

27 | Digital Fashion – Self-Perception and Self-Representation in Digital Spaces

In the discussion of digital fashion, it is important to more closely examine the idiosyncrasies of the spaces in which it mainly exists. The following is an exploration into research on the question of how we perceive and represent ourselves in digital spaces and how this could also impact the perception and role of digital fashion.

Digital spaces have a profound influence on self-perception across various cultures, shaping how individuals view themselves and interact with others in virtual environments. This impact is multifaceted and varies depending on cultural contexts and the specific digital platforms used. Digital platforms offer unprecedented opportunities for identity construction and self-representation. Users can craft and inhabit digital personas, potentially influencing their self-perception and social identity. This process of digital self-creation is not necessarily tied to „verifiable“ offline identities, allowing individuals to present aspects of themselves that may be suppressed or unexplored in their physical lives. For example, in some cultures, digital spaces serve as safe havens for marginalised groups, allowing them to find acceptance and support in aspects of their real identity that may be lacking in their offline environments. This can lead to a more positive self-perception and a sense of belonging within these virtual communities.1

The influence of digital spaces on self-perception can vary significantly across cultures. One determining factor is the difference between individualistic and collectivist cultures. In more individualistic societies, digital spaces may encourage self-expression and personal branding, while in collectivist cultures, they might emphasise group harmony and shared identities. A further distinction is between high-context versus low-context cultures. Digital communication may be interpreted differently in high-context cultures, where indirect communication is valued, compared to low-context cultures that prefer more direct communication styles.

In more traditional societies, digital spaces might create tension between online self-expression and offline cultural norms, potentially leading to conflicting self-perceptions. Digital spaces can both reinforce and challenge cultural identities. For example, diaspora communities may use digital platforms to maintain connections with their heritage culture while simultaneously adapting to their host culture’s digital norms2. This dual engagement can lead to a more complex and nuanced self-perception that bridges multiple cultural identities.

The digital culture has created a generational rift, with younger generations developing new forms of self-perception characterised by both positive and negative concepts. Often, digital culture is said to enable and encourage self-centredness and narcissism. This reflects a more general cultural shift towards a more individualistic culture in general. On the positive side of the spectrum, digital spaces can facilitate and promote global relationships, also crossing cultural boundaries. Some research suggests that digital spaces can create novel perceptions of time and space as well as enable defiance of traditional authority2. These shifts in self-perception are particularly pronounced in cultures experiencing rapid technological adoption and social change.

While digital spaces offer new avenues for self-expression and identity construction, they also present challenges which can affect self-representation and self-perception of users within them. One significant area of concern is with privacy and security. Concerns about data protection and potential misuse of personal information can affect how individuals present themselves online1. It might affect how much of the offline-persona users allow into their digital identity. 

Digital spaces can also foster a phenomenon called the digital divide. Unequal access to technology across cultures can create disparities in how digital spaces influence self-perception2. Especially with online spaces facilitating users to compare themselves to each other, this divide can become very visible and discourage less advantaged users to present themselves in an authentic way. In relation to this, digital spaces can also lead to cultural homogenization. The global nature of many digital platforms may lead to a degree of users approximating their self-representation to each other. This harbours the danger of eroding unique cultural perspectives on self-perception2. We already observe that certain digital spaces such as social media have a tendency to reward and promote content that aligns with a certain predetermined ideal that can lead to exclusion and marginalisation of users who do not fit these standards.

In conclusion, digital spaces have become integral to how individuals across cultures perceive themselves and construct their identities. While offering new opportunities for self-expression and community building, these virtual environments also present challenges that vary across cultural contexts. As digital culture continues to evolve, its impact on self-perception will likely become even more nuanced and culturally diverse. All of the above developments also affect how digital fashion might find a role in these digital spaces. As a means of expression, it will be faced with the same opportunities and challenges that apply to digital spaces as a whole. 

1 Garcia, “Educational Leadership: When Self-Perception Stymies Social Progress.”
2 Jolia and Jolia, “The Phenomenon of Digital Culture in the Modern Technological World.”

Sources: 

Garcia, Camille Marie and Wager, Amanda Claudia, „Educational Leadership: When Self-Perception Stymies Social Progress“ (2018). Lesley University Community of Scholars Day. 2. https://digitalcommons.lesley.edu/community_of_scholars/2018/session_d/2

Jolia, Guram, and Nino Jolia. “The Phenomenon of Digital Culture in the Modern Technological World.” Economics 105, no. 03 (April 15, 2022): 81–103. https://doi.org/10.36962/ecs105/3/2022-81.

by helene.goedl -

26 | Digital Fashion – The Decline of Quality: Fast Fashion’s Unsustainable Legacy

My previous blog entries have been concerned with discussing digital fashion with one of the main concerns being the absence of materiality. I described how materiality is a central component in the fashion design process and that materiality also helps us connect to clothes through the sensory experience. In connection to this, I want to discuss a related issue which has plagued the fashion industry in recent decades: the decline of fabric and garment production quality. This exploration aims to investigate if materiality is generally on the decline as a determining factor in fashion design today, or if the increasing loss of quality is a phenomenon limited to the fast fashion side of the industry.

In recent years, the fashion industry has undergone a significant transformation, with the rise of fast fashion dramatically altering the landscape of clothing production and consumption. This shift has not only changed how we shop but has also had a profound impact on the quality of fabrics used in our garments. The decline in fabric quality, largely attributed to the fast fashion model, has far-reaching consequences for both consumers and the environment.

Fast fashion refers to the rapid production of inexpensive, trendy clothing designed to be worn only a few times before being discarded. This model prioritises speed and cost over quality, resulting in garments that are often made from lower-grade materials and with less attention to craftsmanship1.

The fast fashion industry has experienced significant growth, with revenue showing an upward trend since 2021 after a brief decline during the COVID-19 pandemic2. This resurgence, however, comes at a cost to fabric quality and environmental sustainability.

One of the most notable changes in fabric quality is the increased use of synthetic fibres. Fast fashion brands often rely heavily on materials like polyester, acrylic, and nylon, which are derived from fossil fuels. These synthetic fabrics are chosen for their low cost and ease of production, but they come with significant environmental drawbacks, such as non-biodegradability. Synthetic fibres can take hundreds of years to decompose, contributing to long-term pollution.

When washed, synthetic clothing releases microfibres that escape filtration systems and end up in waterways, harming aquatic ecosystems. Apart from these environmental concerns, synthetic fibres also feel different on the body than natural fibres, with their characteristics often being described as less comfortable and of lower quality. 

The emphasis on rapid production and low costs for fabrics has also led to a decline in the overall quality of garment construction. Fast fashion items often feature inferior stitching techniques, making them more prone to tears and loose threads3. The rush to meet high consumer demand results in less thorough quality control, leading to more defects in finished products3. This decline in craftsmanship not only affects the longevity of clothing but also contributes to the devaluation of traditional textile skills and artisanal practices4.

The deterioration in fabric quality has had a ripple effect on the second-hand clothing market. Traditionally, second-hand stores have played a crucial role in extending the lifecycle of garments. However, the influx of poorly made fast fashion items is undermining this sector:

Many fast fashion garments are of such poor quality that they cannot be resold after just a few uses3. Clothes made from low-quality materials often fall apart after minimal wear, making them unsuitable for resale3. This trend is particularly concerning as it hampers efforts to create a more circular and sustainable fashion economy.

The decline in fabric quality, driven by fast fashion, has severe environmental implications:

The short lifespan of fast fashion items leads to millions of tons of textile waste in landfills annually4. The constant production of new, low-quality garments also requires continuous extraction of raw materials and energy resources. Moreover, the fast fashion model often relies on exploitative labor practices in developing countries, where workers face harsh conditions and minimal pay to meet the demands of rapid production3.

Research supports the observed decline in fabric quality. A study published in the Journal of Cleaner Production found that the average lifespan of clothing items has decreased significantly over the past two decades, correlating with the rise of fast fashion1. The study also noted a marked increase in the use of synthetic fibres, which now dominate the textile market due to their low cost and ease of production. Another scientific investigation, published in Environmental Science & Technology, revealed that synthetic microfibres from clothing are a major source of microplastic pollution in aquatic environments5. This research underscores the environmental impact of low-quality, synthetic fabrics commonly used in fast fashion.

While the current state of fabric quality in the fast fashion industry is concerning, there are signs of positive change: Consumers are becoming increasingly conscious of the environmental and social impacts of their clothing choices6. Some brands are exploring more eco-friendly materials and production methods, including organic and recycled cotton. There’s a growing movement towards investing in higher-quality, longer-lasting garments as an alternative to fast fashion.

The decline in fabric quality, largely driven by the fast fashion industry, has significant implications for consumers, the environment, and the future of the fashion industry. Developments analysed in this post suggest that materiality has been on the decline as a deciding factor for consumer behaviour in recent decades, at least in the fast fashion market. But the decline in quality has reached all segments of the fashion industry and is therefore a more general concern in fashion. However, more recent developments towards awareness of the advantages of natural and higher quality materials in consumers might indicate a change in the tides.

1 Yu, Gomez-Borquez, and Zaichkowsky, “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.”
2 Dai, “The Fast Fashion Industry in the Post-Pandemic.”
3 “Fast Fashion Causes Decline in Quality Second-Hand Clothes.”
4 Jovells, “Why Is Fast Fashion Bad? Beyond the Price Tag.”
5 Ruiz, “47 Official Sustainable Fashion Statistics 2025.”
6 Güven and Yakın, “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?”

Sources: 

Dai, Yukun. “The Fast Fashion Industry in the Post-pandemic.” BCP Business & Management 38 (March 2, 2023): 598–603. https://doi.org/10.54691/bcpbm.v38i.3745.

Güven, Hüseyin, and Volkan Yakın. “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?” Journal of Human Sciences 20, no. 4 (October 21, 2023): 596–610. https://doi.org/10.14687/jhs.v20i4.6424.

Jovells, Salva. “Why Is Fast Fashion Bad? Beyond the Price Tag.” Sumissura (blog),  February 6, 2025. https://www.sumissura.com/en/blog/why-is-fast-fashion-bad.

Ruiz, Arabella. “47 Official Sustainable Fashion Statistics 2025.” TheRoundup, March 18, 2024. https://theroundup.org/sustainable-fashion-statistics/.

Winssolutions. “Fast Fashion Causes Decline in Quality Second-hand Clothes,” December 20, 2024. Accessed February 28, 2025. https://www.winssolutions.org/fast-fashion-triggers-troubling-decline-in-quality-of-second-hand-clothing/.

Yu, Yunzhijun, Claudia L. Gomez-Borquez, and Judith Lynne Zaichkowsky. “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.” Journal of Sustainable Marketing, September 28, 2023, 1–21. https://doi.org/10.51300/jsm-2023-108.

by helene.goedl -

25 | Digital Fashion – Arriving at the Final Research Question 

Through the previous blog entries, I narrowed in my research topic to a specific area of digital fashion that proved to be my main interest. I was able to determine that I am mainly interested in exploring the design process specifically and that two factors in this process would be of special interest to me. These two factors are materiality and the body as a parameter of fashion design.

In the literature research, the topic of the body as a design parameter in fashion design was discovered to be a fairly recent focus of the research in the field. The body has always been central to fashion design, but an increasing interest in exploring its role has come up over the past decades. This trend extends to the digital fashion space. Baek et al. in their systematic review on digital fashion define the body as “the third most dominant theme within the digital fashion literature”1

This is not surprising, since the absence of the physical body is a central element in digital space by default. Apart from the digital space, the question of physicality remains an interesting topic in traditional fashion design as well. It is a continuous area of interest to investigate how consideration of the human body influences the design process, whether physical or digital. An example of an interesting study on the body in the design process is Julia Valle-Noronha’s design led study, which among other things poses the question if “the personal experience of wearing  clothes can be reflected on the making of new clothes”2

The factor of materiality is another central aspect of traditional fashion design. Materiality is crucial in fashion design because it directly impacts the aesthetics, functionality, sustainability, and emotional experience of a garment. It affects several crucial aspects of the design process and the final product. Materiality directly impacts aesthetic and design expression. The texture, drape, opacity, and sheen of a fabric all influence the final look and feel of a garment. Designers choose materials that align with their creative vision and their unique requirements for garments, whether it’s structured tailoring, flowing silhouettes, or avant-garde experimentation.

Materiality also determines a garment’s functionality and wearability. The choice of material affects factors such as wearer comfort, durability, breathability, and movement. A winter coat needs insulating fabrics, while activewear requires moisture-wicking and stretchable materials.

Advances in textiles, such as smart fabrics, biodegradable materials, and 3D-knitted garments, push the boundaries of fashion by offering new possibilities for design and performance.

The material factor also significantly influences considerations on sustainability and ethics. Designers are increasingly turning to recycled, organic, and biodegradable textiles to reduce waste and pollution. In connection to this, there are also economic and production factors that influence material choices. The cost and availability of materials affect the scalability of a design, influencing pricing, accessibility, and production feasibility.

On the more abstract end of the spectrum, materials often facilitate cultural and emotional connection to clothing. Fabrics often carry historical and cultural significance, connecting wearers to traditions, craftsmanship, and storytelling. Additionally, textures and materials evoke emotions and sensory experiences. This last aspect especially makes it challenging to think about the factor of materiality in digital spaces. An exciting experiment on the sensory experiences as a material in itself was introduced by Jan Tepe in 2021.3

Materiality is at the heart of fashion because it determines how a garment looks, feels, functions, and interacts with both the body and the environment.

Through evaluating these issues, I revisited my preliminary master thesis structure and finally arrived at the research question:

How do the parameters of materiality and the human body influence the design thinking process in digital fashion, and how do these constraints and possibilities compare to traditional fashion design workflows? 

Through this research question, the master thesis will explore the hypothesis that the shift from traditional to digital fashion design requires a fundamental change in design thinking with regards to designing fashion, as digital materiality and digital body shapes and characteristics redefine garment construction, functionality, and creative constraints. Digital fashion offers expanded creative possibilities in the design workflow of a collection but also introduces new limitations compared to traditional workflows. 

The main goals of the thesis are to design and develop a digital fashion micro collection in the form of three avant-garde full-body looks as a case study to explore the constraints and opportunities of digital fashion design. To analyse through a personal design project how digital materiality and (non)- human body shapes can impact the design thinking process compared to traditional fashion workflows. A further goal is to identify key differences and challenges in digital versus traditional fashion design, supported by expert interviews with traditional and digital fashion designers. Additionally, the thesis will document the design process of a personal digital fashion design project in depth, showcasing the iterative nature of digital fashion design and how designers must adapt to digital tools and environments. 

1 Baek et al., “Defining Digital Fashion: Reshaping the Field via a Systematic Review.”
2 Valle-Noronha, “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.”
3 Tepe, “Investigating Sensory Perception as a Material for Fashion Design,” May 8, 2021.

Sources: 

Baek, Eunsoo, Shelley Haines, Omar H. Fares, Zhihong Huang, Yuwei Hong, and Seung Hwan Mark Lee. “Defining Digital Fashion: Reshaping the Field via a Systematic Review.” Computers in Human Behavior 137 (August 4, 2022): 107407. https://doi.org/10.1016/j.chb.2022.107407.

Tepe, Jan. “Investigating Sensory Perception as a Material for Fashion Design.” New York City, New York, United States of America, May 8, 2021. https://doi.org/10.1145/3411763.3450384.

Valle-Noronha, Julia. “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.” Conference Paper. Helsinki, Finland, 2017. https://www.researchgate.net/publication/323336313_The_body_within_the_clothes_A_case_study_on_clothing_design_practice_from_a_practitioner_viewpoint.

Futher Reading:

Body and Space Research Lab. “The Body and Textiles at the Intersection of the Physical and Digital Through Movement — Body and Space Research Lab,” n.d. https://www.bodyandspace.com/the-body-and-textiles-at-the-intersection-of-the-physical-and digital-through-movement.

by lea.haas -

Road to M. A. 10: Editing and Emotions

How Film Editing Shapes Female Rage

Film editing is often referred to as the „invisible art,“ subtle guiding an audience’s emotions without them realizing it. Through precise cuts, pacing, and juxtaposition, editing can elevate tension, highlight character psychology, and ultimately shape the way we perceive emotions on screen. Among these emotions, rage—especially female rage—holds a unique place in cinema. Often suppressed or stylized differently from male anger, the depiction of female rage relies heavily on editing choices that determine its impact, from slow-burning resentment to explosive outbursts.

The Psychology of Editing

Editing dictates the rhythm of a film, much like a heartbeat. A well-timed cut can intensify an emotional moment, allowing viewers to feel a character’s rage rather than merely witnessing it. According to Soumen Das in Film Editing and Emotional Resonance: The Psychology of Cut (2023), „the right cut at the right moment can amplify the raw intensity of a scene, making emotions feel more visceral.“ Editors craft an emotional landscape by determining how long a shot lingers or how abruptly it shifts, playing a pivotal role in how female rage is perceived.

The psychology of film editing underscores how audiences process emotions, often making them feel a character’s internal turmoil in real-time. As PostProList highlights, „a good edit can make the audience feel what the character feels—whether through a lingering close-up, an unexpected jump cut, or a rapid montage.“ These techniques are crucial in portraying female rage, especially since its depiction in cinema has historically been filtered through a male-dominated lens.

1. The Slow Burn

Some films use long, uninterrupted takes to let the audience simmer in a character’s frustration. This approach builds anticipation, making the eventual eruption of rage all the more powerful. Take Portrait of a Lady on Fire (2019), where lingering close-ups emphasize silent resentment, allowing emotions to swell beneath the surface before they inevitably break free.

2. The Sharp Cut

Abrupt cuts can mirror the unpredictability of anger, shocking audiences into feeling a character’s frustration firsthand. In Gone Girl (2014), editor Kirk Baxter employs sharp, disjointed edits to reflect Amy’s cold, calculated rage. Each cut jolts the audience, reinforcing her methodical yet emotionally charged actions.

3. Montage of Fury

A rapid montage can visually externalize a character’s escalating anger, emphasizing emotional fragmentation. Birds of Prey (2020) uses fast-paced, erratic cuts during Harley Quinn’s rampage scenes, mimicking her manic, untethered rage. The scattered editing style makes her fury feel uncontainable, placing viewers directly in her chaotic mindset.

4. The Silence

One of the most effective ways to portray female rage is through silence—allowing space before the explosion. The absence of cuts or sound heightens the tension, making the eventual eruption even more cathartic. A Woman Under the Influence (1974) masterfully employs this technique, using lingering pauses before Gena Rowlands‘ character finally breaks down, creating a deeply unsettling and raw portrayal of suppressed rage.

The Future of Editing Female Rage

The way female rage is edited in film is evolving. No longer confined to hysterical breakdowns or quiet suffering, modern films are embracing complex, multi-dimensional portrayals. As editors become more conscious of the nuances of female anger, they experiment with innovative techniques to enhance emotional depth and challenge stereotypes.

By recognizing the role of editing in shaping emotional resonance, filmmakers can craft more authentic and powerful depictions of female rage—allowing audiences to not only see it but feel it in its rawest, most unfiltered form.

Structure:

1. Introduction

1.1 Context and Relevance of Female Rage in Film

1.2 Research Question and Hypotheses
1.3 Methodology
  
2. Gender and Rage

2.1 Understanding Female Rage in Social and Psychological Contexts
  
The Intersection of Gender, Power, and Emotion

2.2 The Male Gaze and The Female Gaze

Film Theory and Gender Representation
Subversion of the Male Gaze in Contemporary Cinema
2.3 Feminist Film Theory and Female Rage

Feminist Critiques of Traditional Film Representation                   
Empowerment Through Rage  
3. Historical Context: Female rage in film
3.1 Early Depictions
Female rage through the male gaze: Stereotypes and Objectification
Analysis of examples (hysterical women, femme fatales, Final Girl Trope, “What do we do now”)
3.2 Shifts in Representation
The influence of second-wave feminism and feminist film theorists  
4. The Digitalization of Female Rage
4.1 How the Digital Age is Shaping the Narrative of Female Rage in Film
4.2 Female Rage as a viral trend  
Rage as Entertainment  
The Thin Line Between Authenticity and Performance  
5. The Reclamation of Female Rage
Case Study
Analysis of films/series            
Analysing the sound design and editing  
6. Making of short film (practical part)
6.1 Influence of Sound Design on displaying emotions in film
6.2 Influence of Editing on displaying emotions in film
6.3 Concept
Planning    
Storyboard    
Filming
6.4 Editing
Version 1    
Version 2  
7. Evaluation of short film
7.1 Target group
7.2 Questionnaire    
Results of the Questionnaire  
7.3 Link to theory Results & Findings
8. Challenges and Future Directions
8.1 Challenges in Representing Female Rage
Overcoming stereotypes and societal resistance
Risks of overgeneralizing the female gaze
8.2 Future Opportunities
Expanding representations of diverse emotions and experiences
Continued influence of younger generations on storytelling
9. Conclusion
Findings and arguments
Summarizing the transformative power of the female rage (answering the Thesis Questions and Hypothesis)
Call to action for further research and creative innovation in film

*This text was proofread for punctuation and spelling errors with the help of DeepL, ChatGPT 4o and Grammarly.
*This text is based on literature & topic recommendations from ChatGPT 4o and Gemini Pro 2.0. All content was verified by me for accuracy and relevance, and the text itself was created by me.

Sources:

Das, Soumen. „Film Editing and Emotional Resonance: The Psychology of Cut“ 2023

Murch, Walter. “In the Blink of an Eye: A Perspective on Film Editing.” Los Angeles: Silman-James Press, 2001

The Psychology Of Film Editing & Its Impact On Your Audience

https://postprolist.com/article/psychology-of-editing#:~:text=Emotional%20Impact%3A%20The%20Invisible%20Hand%20of%20Film%20Editing&text=A%20good%20edit%20can%20make,angle%2C%20and%20the%20right%20timing.

by lea.haas -

Road to M. A. 9: Sound Design and Emotions

In cinema, sound design is often an umentioned „silent“ hero—shaping emotions, heightening tension, and guiding the audience’s experience. When it comes to expressing female rage, sound design becomes even more critical. Women’s anger has historically been muted, dismissed, or vilified in both media and society. However, through the meticulous use of sound, filmmakers have found ways to amplify, legitimize, and even celebrate female fury.

The Role of Sound Design in displaying Female Rage

Female rage in film is not just about screaming or breaking things—though those moments are certainly powerful. It’s about the underlying tension, the controlled fury, the slow build-up before an explosion, or the eerie silence that signifies something is about to snap.

Sound design helps shape and embrace these moments of rage in multiple ways:

1. Silence as a Weapon

Silence—or the deliberate absence of sound—can be just as powerful as a loud explosion of rage. In films like Gone Girl (2014), the eerie quiet in Amy Dunne’s most intense scenes builds unease, letting her emotions simmer beneath the surface before they explode. Silence forces the audience to sit with the weight of female anger, making it all the more impactful when it finally erupts.

2. Distorted and Layered Sounds

When rage boils over, sound designers often layer and distort sounds to mirror the character’s emotional state. In Promising Young Woman (2020), for instance, moments of intense confrontation are underscored with subtle yet jarring sound distortions—heartbeats, high-frequency ringing, or muffled audio—to simulate stress, adrenaline, or dissociation.

3. Breathing and Vocalization

The sound of breathing—whether controlled and measured or ragged and erratic—can define a moment of suppressed or unleashed anger. Consider Kill Bill: Volume 1 (2003), where The Bride’s breathing shifts from controlled calm to explosive fury. Sound design ensures that we feel every ounce of her wrath before she even lifts a weapon.

4. Destructive Sound Effects

Objects breaking, fists clenching, heels clicking sharply against the ground—these small details are magnified through sound design to externalize the character’s internal storm. In I, Tonya (2017), the sounds of skates grinding against ice or fists slamming into objects make the audience feel Tonya Harding’s frustration and the brutality of her world.

5. Music and Score in Female Rage

Soundtracks and scores play a crucial role in shaping female rage on screen. Strings stretched to an unsettling high pitch, pounding percussion, or an abrupt drop in music can all signal anger before the character even speaks. Joker-esque brass instruments, pulsating synths, or discordant notes in films like Pearl (2022) highlight a woman’s descent into fury, allowing sound to convey her emotional unraveling.

Iconic Moments

  • Charlize Theron in Mad Max: Fury Road (2015) – Furiosa’s silent yet seething breakdown is punctuated by the howling wind and the pounding desert heat, making her grief-fueled rage even more visceral.
  • Natalie Portman in Black Swan (2010) – The use of distorted breathing, whispers, and classical music descending into madness intensifies Nina’s transformation from repressed to rageful.
  • Florence Pugh in Midsommar (2019) – The climactic group scream scene is not only visually stunning but sonically overwhelming, using layered vocalization to transform individual pain into collective rage.

Sound design is a critical tool in shaping how female rage is perceived in cinema. Whether through silence, distortion, or heightened realism, sound gives weight to anger that has long been silenced or trivialized. As filmmakers continue to explore the complexities of women’s emotions, we can expect even more innovative uses of sound to make female rage impossible to ignore.

*This text was proofread for punctuation and spelling errors with the help of DeepL, ChatGPT 4o and Grammarly.
*This text is based on literature & topic recommendations from ChatGPT 4o and Gemini Pro 2.0. All content was verified by me for accuracy and relevance, and the text itself was created by me.

Literature:

https://medium.com/vionlabs-tech-blog/how-sound-design-triggers-emotion-bf052d3da2a9

https://www.filmbaker.com/blog/importance-of-sound-design

Görne, Thomas. “Sounddesign: Klang, Wahrnehmung, Emotion.” Munich: Carl Hanser Verlag, 2017

Sonnenschein, David. “Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema.” Los Angeles: Michael Wiese Productions, 2001