Creativity versus branding: totemism, animism and the pursuit of uniqueness in fashion

Vangkilde, Kasper Tang

doi:10.1080/17530350.2016.1248473

Cited by 4 publications

(2 citation statements)

References 25 publications

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“…However, design processes are intimately associated with designers' hands-on activities, such as sketching, draping, handling materials and fitting (Raebild 2015). These require a combination of technical and esthetic skills together with temporal sensitivity, creativity, as well as cultural and commercial understanding, juggling between newness and continuity (Bye and Sohn 2010;Vangkilde 2017). Thus, the professional fashion design practice stands on the embodied tacit knowledge of the designer as a fleshy human body in action-an assemblage of sensuous, emotional and physical encounters between humans and nonhumans, such as textiles, garments, brands, society and technology (Entwistle 2000;Raebild 2015;Petreca 2017;Vangkilde 2017, 186;D.…”

Section: Traditional Figure Of Fashion Designermentioning

confidence: 99%

Digital 3D Fashion Designers: Cases of Atacac and The Fabricant

Särmäkari¹

2021

Fashion Theory

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The phenomenon of "digital fashion" has been lately addressed in media as the next significant step in the fashion industry. The increasing use of the 3D-software in fashion design processes is part of a wider "fashion 4.0" digitalization process. This article frames the phenomenon of digital fashion and presents an in-depth case study research on two pioneering companies in this area, Atacac and The Fabricant. How and why are they building their fashion design practice on digital 3D-design? How are these companies redefining the fashion design culture and the fashion designer? Drawing from sociology of professions, this article proposes that digital fashion is an emerging subfield within the field of fashion design, differentiating itself from the professional conventions and building new strategies of jurisdiction and legitimation. Driven by sociotechnical affordances and elevation of professional pride through ethical, conceptual, artistic and skill differentiation, digital fashion designer becomes also a digital artisan. In the increasingly virtual, or "phygital" space and a networked synergetic community of digital fashion, the professional, authorial, bodily and material boundaries of Natalia S€ arm€ akari is a Doctoral Candidate at Aalto University, Finland. S€ arm€ akari's professional background is in fashion design and her research interests concern fashion studies and design research, authorship and professionalism of fashion designers as well as the digitalization and datafication of the field of fashion design.

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Section: Traditional Figure Of Fashion Designermentioning

confidence: 99%

Digital 3D Fashion Designers: Cases of Atacac and The Fabricant

Särmäkari¹

2021

Fashion Theory

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“…Fashion design is in dialogue with other designers and brands, previous collections, influencers and celebrities, the history of fashion and culture, visual and popular cultures, and the street. Authorship of a work is hard to define, due to the interplay between new and familiar, the collective team effort and the mix of originality and imitation (Kawamura, 2018;Raebild, 2015;Eckert & Stacey, 2001;Vangkilde, 2017;Racine & Collier, 2005, pp.14, 29). For example, Openwear is an e-book (Niessen, 2010) providing an overview of the open-source fashion approach, a web community and a platform (now inactive) for knowledge, tools, discussion, collaboration and customization of free collections under an open-source licence.…”

Section: Framing the Field Of Open-source Fashionmentioning

confidence: 99%

Open-Source Philosophy in Fashion Design: Contesting Authorship Conventions and Professionalism

Särmäkari¹,

Vänskä²

2020

Proceedings of DRS

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This paper investigates open-source fashion approach as a design philosophy and a phenomenon that demonstrates an alternative to the concept of authorship of fashion designers. We argue that the concept contests traditional professionalism in fashion design in today's digitalized, data-driven culture. Investigating opensource philosophy in fashion design as a dimension of professional fashion designers' authorship, the paper presents three case studies with different ways of applying opensource principles to existing fashion design practices. The article builds on multiplecase-study research conducted during 2018-2019. The case studies were analyzed from the perspective of authorship and professionalism. We ask whether, how, why and to what end fashion designers contest the authorial and professional conventions of fashion design. Secondly, we analyze the role of technology in such questioning.

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The Business of Inspiration: A Magical Technology of Prefiguration

Vangkilde

2018

Magical Capitalism

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Creativity versus branding: totemism, animism and the pursuit of uniqueness in fashion

Cited by 4 publications

References 25 publications

Digital 3D Fashion Designers: Cases of Atacac and The Fabricant

Digital 3D Fashion Designers: Cases of Atacac and The Fabricant

Open-Source Philosophy in Fashion Design: Contesting Authorship Conventions and Professionalism

The Business of Inspiration: A Magical Technology of Prefiguration

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