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 -

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.

    by helene.goedl -

    22 | Digital Fashion – Narrowing down the Research Topic

    In the process of working towards the final master thesis, an important step is the continuing refinement of the concrete research topic and research question. In this process, the challenge is to comprehend what it really is that makes the topic of digital fashion design so interesting for me. 

    In this blogpost, I will briefly explain the origin of my interest in the topic, outline the scope of the research topic that will be covered in the masters thesis and define some areas that will be excluded in my exploration of digital fashion within my thesis.

    The origin of my interest in the topic of digital fashion stems from my original background. My venturing into the field of design started at the age of 14 when I began studying in fashion school. I had always been interested in clothes and especially, I had always had a fascination with materials, how they behave in certain circumstances, how they can be strategically used, made and manipulated. I was also very intrigued by how fashion design incorporates the human body as a core element of the design process1. Now, many years later and having ventured away from my original design discipline through photography to moving image media design, I rediscovered my interest in these core topics of materiality and physicality. When it came to choosing a topic for my masters thesis, I actively looked for a topic through which I could merge the media design field with my interest in fashion design. Quite soon, I came across the topic of digital fashion. Since defining it as my master thesis field of research, I have been faced with the challenge of determining a more focused research topic and question that would encompass my interest in materiality and physicality, as well as reflecting relevant issues in the current discourse surrounding digital fashion design. 

    When narrowing down the scope of a topic, it can often be helpful to exclude certain aspects to gain more clarity. With this aim in mind, I went through my sources and determined some aspects of the current discourse on digital fashion that will not be the main focus of my thesis. 

    Firstly, I decided to broadly exclude all aspects of the topic revolving around video games, which is an aspect that has continued to be prominent in the discussion of digital fashion use cases.2,3 My decision to exclude it is mainly rooted in the fact that I am not familiar at all with games culture and I don’t find it a sufficiently rich source of discussion for my approach to the topic. Although digital fashion in video games may still come up in some side notes, it will not be the main focus of my thesis.

    In relation to this, I also made the decision to not focus prominently on the discussion around NFTs and the marketability aspect of digital fashion as an end product in general. My thesis is not concerned with exploring how digital fashion as an end product can be sold to consumers and what role it can have in the fashion market. Naturally, this aspect might also be mentioned in passing, but it will not be the focus of my work.

    One topic I did not want to entirely exclude in my research was the question of sustainability. Digital fashion is sometimes touted as a solution that can aid in reducing the demand for fast fashion, especially in relation to fashion influencers and use cases of fashion that are limited to the digital sphere. While this aspect is still of interest to me, I have decided against making it the main focus of my thesis.

    What has become clear to me through excluding these aspects is that my interest in the digital fashion topic are revolving more around the design process rather than being concerned with an end product. For a while in exploring potential focus points in the discussion, I considered exploring the aspect of digital end products and their use cases, but found that this is not the aspect that really sparked my interest in this topic in the first place and was not encouraging me to continue my exploration.

    I decided that my exploration of digital fashion had to revolve more around the applied design process, especially with the consideration of the implications of working without materiality, without a physical body and without physical space in mind. I found that exploring this tension between physical and digital and the implications of these new design conditions are what make digital fashion such an interesting research area for me. In the next blogpost, I will discuss more thoughts on these aspects and elaborate on more possibilities of narrowing the research scope.

    1 McClendon, “The Body: Fashion and Physique—A Curatorial Discussion.”
    2 Reay and Wanick, “Skins in the Game: Fashion Branding and Commercial Video Games.”
    3 Reza et al., “Skins for Sale: Linking Player Identity, Representation, and Purchasing Practices.”

    Sources:

    McClendon, Emma. “The Body: Fashion and Physique—A Curatorial Discussion.” Fashion Theory 23, no. 2 (February 26, 2019): 147–65. https://doi.org/10.1080/1362704x.2019.1567057.

    Reay, Emma, and Vanissa Wanick. “Skins in the Game: Fashion Branding and Commercial Video Games.” In Reinven3ng Fashion Retailing. Digitalising, Gamifying, Entrepreneuring, 73–90, 2023. https://doi.org/10.1007/978-3-031-11185-3_5. 

    Reza, Alia, Sabrina Chu, Zuaira Khan, Adanna Nedd, Amy Cas3llo, and Daniel Gardner. “Skins for Sale: Linking Player Iden3ty, Representa3on, and Purchasing Prac3ces.” In Lecture Notes in Computer Science, 124–31, 2019. https://doi.org/10.1007/978-3-030-15742-5_11.