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

by lea.haas -

Road to M. A. 8: Feminist Film Theory

Feminist Film Theory is an evolving discourse that examines the roles and representations of women in film. From early Hollywood productions to contemporary films, feminist critics and filmmakers have challenged traditional portrayals of women, advocating for a more nuanced and diverse display. In the modern world, women are no longer confined to passive roles; they are present in politics, science, literature, the arts, and the film industry. This progression of women’s influence in cinema can be traced back to the early days of television and film. Elizabeth Montgomery, gained widespread admiration in the sitcom „Bewitched„, where her performance captivated audiences. Over the years, women have played an essential role both in front and behind the camera, shaping narratives and redefining storytelling.

Evolution of Feminist Film Theory

Women filmmakers have been part of the industry since the early 19th century, yet their contributions were often overlooked. The first wave of feminism primarily focused on gender equality and securing women’s rights, but it was the second wave that brought significant attention to feminist perspectives in film. This movement aimed to destruct stereotypes, question male-dominated narratives, and advocate for authentic female representation.

The Foundation

Feminist Film Theory is a theoretical framework rooted in feminist politics and sociology. It analyzes how women are portrayed in film and how audiences perceive these portrayals. The theory gained attention during the second wave of feminism, emphasizing how cinema reinforces patriarchal ideologies. Scholars like Laura Mulvey „the male gaze„, argue that traditional cinema is designed for male spectators, objectifying women as passive subjects.

Some scholars hypothesize that female roles in film often reflect societal perceptions rather than reality. Feminist Film Theory continues to evolve, extending into television and digital media, where women continue to challenge gender norms and redefine their own representation.

Criticism

Despite the progress made by feminist filmmakers, criticism persists regarding women’s functionality in cinema. Many female characters are still written as secondary figures, often existing only to support male protagonists. Feminist Film Theory critiques these portrayals and pushes for stories where women are fully developed, autonomous characters with their own narratives.

Anneke Smelik’s Theory and Feminist Film Analysis

Anneke Smelik, a prominent feminist film theorist, builds upon the ideas of Laura Mulvey and others by analyzing how feminist filmmakers subvert traditional cinematic techniques. Smelik argues that feminist cinema often employs non-linear storytelling, fragmented narratives, and alternative visual styles to challenge the dominant male gaze.

In her works, Smelik highlights how feminist directors use techniques like close-ups, subjective camera angles, and disrupted narratives to shift power dynamics within film. By doing so, feminist films encourage viewers to engage with female characters beyond their physical appearance, fostering deeper emotional and intellectual connections.

*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:

Feminist Film Theory

https://www.annekesmelik.nl/wp-content/uploads/2015/08/Feminist-Film-Theory-Wiley_Smelik.pdf

by helene.goedl -

24 | Digital Fashion – Topic Exploration 1: The Body in Fashion Design, our Relationship to Clothes and the Importance of Materialtiy

The relationship between the human body and fashion design is complex and multifaceted, with designers increasingly recognizing the importance of considering the dynamic nature of the body and the wearer’s experience. This shift in perspective is reshaping the approach to fashion design and our relationship with clothes. In the context of digital fashion design, the elements of the body, our relationship to clothes and the aspect of tangibility in experiencing fashion needs to be reevaluated and reimagined. In the following blogpost, I will discuss some ideas surrounding these concepts and point out how they might be explored further within the field of digital fashion design.

The Dynamic Body in Fashion Design

Fashion design is deeply connected to the human body and our ever-evolving societal understanding of it. In the past, fashion was often designed with a more static concept of the body in mind. But our ideals and standards around bodily expression are evolving to consider the body as a dynamic entity rather than a static form. Traditionally, garment patterns have been designed for a stationary, upright posture, which can lead to discomfort when the body is in motion1. To address this, researchers are developing new methodologies that incorporate the body’s various movements into the design process. For instance, a study conducted in 2024 created a mannequin that combines daily body motions, leading to the development of ‚distorted‘ block patterns that better conform to the mobile human form1. This study is only one instance of how considerations about the body are continuing to influence the fashion design process. In digital space however, the body becomes a more fluent concept and might even be completely excluded as a factor. But the question this brings is whether the absence of a body to dress would be a disqualifier for calling digital fashion “fashion” in the first place, or whether we would have to treat it as a new design discipline. 

Embodied Empathy in Fashion

Apart from mere practical considerations of the aspect of movement, the concept of embodied empathy is gaining traction in fashion design. This approach emphasizes sensitivity to the wearer’s physical experiences, shifting the focus from mere appearances to supporting bodily comportments2. By adopting this perspective, designers can create garments that not only look good but also feel comfortable and enable natural movement. Again, this demonstrates an aspect of fashion design that becomes virtually irrelevant in digital spaces. The concept of “comfort” for digital bodies evokes considerations about the conditions of the digital body and whether or not we can attribute any sort of conditions to them. 

Bio-segmentation and Inclusive Design

Fashion is moving away from binary gender-based designs towards a more inclusive approach based on bio-segmentation. This method considers body somatotypes (ectomorph, mesomorph, and endomorph) and biotypes as the foundation for design, rather than traditional gender categories3. This shift allows for more inclusive and diverse fashion offerings that cater to a wider range of body types. Similar to the above design concepts relating to the body, this is another example of where the transition to digital spaces and the possibility for removing the body as a factor altogether could unlock potential for the field of fashion design. 

The Importance of Materiality

Despite technological advancements, the tangible aspect of fashion remains crucial. The physical interaction between fabric and skin, the drape and feel of a garment, and the way it moves with the body are all essential elements of the fashion experience. Researchers are working on creating comprehensive databases that include physical textile samples, 3D human body models, and 3D garment designs to bridge the gap between digital and physical fashion4. While this is an interesting development when it comes to simulating and representing the general behaviour and movement of material in digital space, it still lacks the important quality of tangibility. Digital clothing can never produce the sensation of textiles on the human body and therefore are bound to lack a very important feature in the way that we experience fashion.

The fashion industry is increasingly recognizing the importance of considering the dynamic human body, individual experiences, and diverse body types in design. This holistic approach, combined with technological advancements, is leading to more inclusive, comfortable, and innovative fashion designs while maintaining the crucial tangible aspects of clothing in the field of traditional fashion design. All of these developments suggest a growing awareness of the body as a crucial aspect of fashion design and open the door to discussing how a transition into digital space might handle questions of physicality. 

This post was written with the assistance of Perplexity AI.

1 Hassan, “Thinking of the Moving Body in Motion as the Starting Point for the Fashion Design.”
2 Robinson, “Body Styles: Redirecting Ethics and the Question of Embodied Empathy in Fashion Design.”
3 Neto and Leal, “Genderless Fashion Design: From Binary Fashion to Bio-Segmentation. Body Biotypes and Somatotypes as Main Bases to Inclusive Fashion Design.”
4 Odhiambo et al., “Creation of Databases for a Virtual Training Library in Fashion Design.”

Sources: 

Hassan, Furat Jamal. “Thinking of the Moving Body in Motion as the Starting Point for the

Fashion Design.” Al-Academy, no. 112 (June 15, 2024): 75–86.
https://doi.org10.35560jcofarts1401.

Neto, Maria João Pereira, and Maria Inês Leal. “Genderless Fashion Design: From Binary Fashion to Bio-segmentation. Body Biotypes and Somatotypes as Main Bases to Inclusive Fashion Design.” AHFE International, January 1, 2022. https://doi.org/10.54941/ahfe1001870.

Odhiambo, Sheilla, Alexandra De Raeve, Cosmin Copot, Ion Razvan Radulescu, Andreja Rudolf, Tadeja Penko, Xianyi Zeng, et al. “Creation of Databases for a Virtual Training Library in Fashion Design.” Communications in Development and Assembling of Textile Products 5, no. 2 (August 16, 2024): 140–50. https://doi.org/10.25367/cdatp.2024.5.p140-150. 

Robinson, Todd. “Body Styles: Redirecting Ethics and the Question of Embodied Empathy in Fashion Design.” Fashion Practice 15, no. 1 (February 24, 2022): 113–35. https://doi.org/10.1080/17569370.2022.2026048.

Further Reading: 

Neto, Ana, and João Ferreira. “Lasting Bonds: Understanding Wearer-Clothing Relationships Through Interpersonal Love-Theory.” Fashion Theory 27, no. 5 (January 26, 2023): 677–707. https://doi.org/ 10.1080/1362704x.2023.2170706. 

Ruggerone, Lucia. “The Feeling of Being Dressed: Affect Studies and the Clothed Body.” Fashion Theory 21, no. 5 (November 21, 2016): 573–93. https://doi.org/10.1080/1362704x.2016.1253302. 

by helene.goedl -

23 | Digital Fashion – Exploring Research Questions

In the last blogpost, I discussed how I narrowed down my research topic by excluding certain aspects of the digital fashion design topic. In this post, I will elaborate on the aspects that I do want to focus on, why they are of interest and how their exploration can be formulated into concrete research questions. 

The main focus of my thesis will be the digital fashion design process. I decided to focus on this aspect because it will allow me to integrate the practical part of my thesis with the theory part and  enable me to incorporate my own experiences from the digital design process. This will also create a possibility to explore the traditional fashion design process as a comparison point for the digital design process. Through this inclusion, I will have the opportunity to feature point of views from traditional fashion designers in the literature and interview section of my research, which will help in broadening the pool of possible experts that I can contact.1 

To recap the factors of interest I defined in my last blogpost, the main focus of my exploration of the digital fashion design process are working without materiality, working without a physical body and working without physical space as an influence factor. 

I further defined the tension between physical and digital and the implications of these new design conditions as areas of interest in my work. The practical part of my thesis will be designing a micro collection of digital fashion items and finding presentation strategies for the digital clothing items.2 My plan is to incorporate the findings from the practical work into my theory part. 

With the above considerations in mind, I proceeded to formulate some possible concrete research questions. Below, I am giving a short elaboration on what using the respective questions could result in within my thesis. 

Possible Research Questions:

“How do designers conceptualize the role and purpose of fashion in digital spaces, and how does this differ from the role of fashion in physical spaces?”
This research question would allow me to explore the purpose of fashion (self-expression, status, etc.) in the digital realm, as well as how designers are navigating this space. The resulting thesis could study how digital fashion challenges or expands the traditional purposes of clothing.

“What design methodologies are employed by fashion designers when creating virtual clothing, and how do these methods differ from traditional fashion design practices?”
Through this question, I would focus on the design process itself. It could explore how designers transition from physical garment creation to 3D garment creation and how this shift affects their design philosophy and methodology.

“How do fashion designers perceive the relationship between physical and digital fashion, and to what extent are they integrated into a holistic design approach?”
With this question at the heart of my thesis, I could explore how designers view the two realms—do they consider digital fashion as a distinct category, or is it something they aim to merge with traditional fashion? How do they address the challenges of bridging these worlds?

“What are the cultural and ethical considerations that designers must navigate when creating digital fashion, particularly in relation to identity, body representation, and inclusivity?”
While I did not formulate the sociological aspect as the main focus of my research, this question could enable me to touch on the cultural and ethical implications of digital fashion. For example, how do designers ensure that virtual clothing does not perpetuate harmful stereotypes or exclude certain body types or identities?

“How does the rise of digital fashion impact the role of the designer in the future of the fashion industry, and what implications does this have for the academic study of fashion design?”
This research question would open the door to understanding how digital fashion is reshaping the designer’s role and could have interesting implications for academia and future curriculum development in fashion design education.

„How do fashion designers approach the integration of digital and physical fashion, and what does the concept of ‚fashion‘ mean in digital spaces, where traditional functions of clothing—such as materiality and bodily adornment—are absent?“
This question brings together the key elements I am interested in: Designers‘ perspectives on digital vs. physical fashion, the concept of fashion in a virtual context, the philosophical exploration of clothing in spaces where physical presence is not required. 

    With these possible research questions formulated, I can now revisit my literature, expand my literature research keywords and refine my methodology further. 

    1 Clarke and Harris, Digital Visions for Fashion and Textiles: Made In Code.
    2 Neuburger “Signature Pieces by Signature Moves : Potentials of Motion Tracking in Digital  
      Fashion – Infusing Aestethics and Shapes with Apporaches from Club Dance Cultures.”

    Sources: 

    Clarke, Sarah E. Braddock, and Jane Harris. Digital Visions for Fashion + Textiles : Made in Code. 1. publ., 2012.

    Neuburger, Magdalena. Signature Pieces by Signature Moves : Potentials of Motion Tracking in Digital Fashion – Infusing Aestethics and Shapes with Apporaches from Club Dance Cultures, 2021.