Making the creation of fashion visible

Sgro, DM

Making the creation of fashion visible

Sgro, DM

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Publisher:: Hong Kong Design Institute and Cumulus International Association of Universities and Colleges of Art, Design and Media
Publication Type:: Conference Proceeding
Citation:: 2017, pp. 600 - 604 (5)
Issue Date:: 2017

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Field	Value	Language
dc.contributor.author	Sgro, DM https://orcid.org/0000-0002-0300-1389	en_US
dc.contributor.editor	Kung, C	en_US
dc.contributor.editor	Lam, E	en_US
dc.contributor.editor	Lee, Y	en_US
dc.date	2016-11-21	en_US
dc.date.available	2016-09-27	en_US
dc.date.issued	2017	en_US
dc.identifier.citation	2017, pp. 600 - 604 (5)	en_US
dc.identifier.isbn	9789526000800	en_US
dc.identifier.issn	1456-307X	en_US
dc.identifier.uri	http://hdl.handle.net/10453/123526
dc.description.abstract	This research paper investigates garment-making processes, which are ordinarily tacit, from the perspective of the fashion designer-maker. The paper draws on a PhD project entitled Metamorphic Fashion: A Transformative Practice, which is nearing completion at RMIT University. Critical consideration of the status of the made garment in fashion design reveals the elision of the fashion-making process by the represented garment and its semiotics. Whilst material thinking is at a developed stage in the related disciplines of design, art and craft, fashion design is largely disassociated from material transformation. Fashion-making processes lack visibility, and a revaluation only seems possible if such methods gain transparency and if their proximity to handcraftedness, which in the past was more widely acknowledged, is reaffirmed. If a fashion designer is also a maker, the garmentmaking process can be a creative and empowering means of coaxing the unknown into existence. Therefore, a critical reappraisal of the process of fashion making is timely. Reflection on the fashion-making process reveals discontinuity, chance encounters, discovery, the fragmentary and the partially formed. The process involves negotiating ambiguity, which must be embraced by the designer to be transformed into certainty. When valued as generative, newly fashioned outcomes can emerge. In this research, methods are developed to articulate fashion design making as transformative, using a creative-practice methodology. The subjective positioning of the researcher’s experience and tacit knowledge is acknowledged and explored. An intimate perspective on the engagement between self and material is provided using video recordings, conveying the complex interrelationship of concept and material during fashion making.	en_US
dc.publisher	Hong Kong Design Institute and Cumulus International Association of Universities and Colleges of Art, Design and Media	en_US
dc.relation.ispartof	CUMULUS Hong Kong 2016: Open Design for E-very-thing	en_US
dc.title	Making the creation of fashion visible	en_US
dc.type	Conference Proceeding
utslib.location	Hong Kong	en_US
utslib.location.activity	Hong Kong Design Institute	en_US
utslib.for	1203 Design Practice and Management	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access
pubs.consider-herdc	true	en_US
pubs.finish-date	2016-11-24	en_US
pubs.place-of-publication	Hong Kong	en_US
pubs.publication-status	Published online	en_US
pubs.start-date	2016-11-21	en_US

Abstract:

This research paper investigates garment-making processes, which are ordinarily tacit, from the perspective of the fashion designer-maker. The paper draws on a PhD project entitled Metamorphic Fashion: A Transformative Practice, which is nearing completion at RMIT University. Critical consideration of the status of the made garment in fashion design reveals the elision of the fashion-making process by the represented garment and its semiotics. Whilst material thinking is at a developed stage in the related disciplines of design, art and craft, fashion design is largely disassociated from material transformation. Fashion-making processes lack visibility, and a revaluation only seems possible if such methods gain transparency and if their proximity to handcraftedness, which in the past was more widely acknowledged, is reaffirmed. If a fashion designer is also a maker, the garmentmaking process can be a creative and empowering means of coaxing the unknown into existence. Therefore, a critical reappraisal of the process of fashion making is timely. Reflection on the fashion-making process reveals discontinuity, chance encounters, discovery, the fragmentary and the partially formed. The process involves negotiating ambiguity, which must be embraced by the designer to be transformed into certainty. When valued as generative, newly fashioned outcomes can emerge. In this research, methods are developed to articulate fashion design making as transformative, using a creative-practice methodology. The subjective positioning of the researcher’s experience and tacit knowledge is acknowledged and explored. An intimate perspective on the engagement between self and material is provided using video recordings, conveying the complex interrelationship of concept and material during fashion making.

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http://hdl.handle.net/10453/123526