循环时装设计的方法:为其他方式设计的探索[项目]

Sabine Lettmann
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引用次数: 0

摘要

本文的目的是提供有关从头构建循环时装系列概念的开发方法的信息。我记录了我在2020年启动的“其他方式”系列(项目)的设计方法,以理解和分析应用循环设计策略所带来的挑战和障碍。目前的文献强调组织和个人因素在阻碍从线性行业过渡到一个新的行业,拥抱循环经济作为解决环境和社会问题的解决方案方面发挥了重要作用。时装设计师在各个设计阶段和生产之间架起桥梁,在这个紧迫的行业转型中扮演着重要角色。然而,有限的可用时间和缺乏知识和指导往往影响采用可以促进循环时装设计的新技能。为了解决这个问题,我举例应用了循环设计策略,并使用反思性实践作为研究方法来分析闭环商业模式设计的技术和认知影响。通过使用带有四个附加卫星的核心循环的可视化图表来映射我的设计决策,我确定了使用循环策略设计的机会,影响从材料采购到收集生产和分销,维修,再利用/关闭循环的各个方面。对顾客(这里是用户)等外部因素的考虑,丰富了循环设计的价值;因此,我与5名用户进行了一次免费试验,以测试我的原型集合的有效性。开放式问卷调查揭示了他们穿着自己选择的服装的体验,并允许以用户为中心的迭代过程,从而改进我的租赁收藏。灵活性和系统思维是主要的内部因素,我将其定义为创建循环系列概念的关键因素,同时将设计师的角色从服装开发人员扩展到封闭时尚循环的推动者。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The approach to circular fashion design: An exploration of designing for otherways[project]
The purpose of this article is to provide information about the approach to developing circular fashion collections concepts built from scratch. I documented my approach to design my collection otherways[project], launched in 2020, to understand and analyse the challenges and barriers stemming from applying circular design strategies. Current literature highlights organizational but also individual factors as instrumental in hindering the transition from a linear industry into a new one that embraces the circular economy as a solution to tackle environmental and societal issues. Bridging the various design stages and production, fashion designers play a major role for the urgent industry shift. However, limited time availability and a lack of knowledge and guidance often influence the adoption of new skills that can foster circular fashion design. To address this, I exemplarily applied circular design strategies and used reflective practice as a research method to analyse the technical as well as the cognitive impact of designing for a closed-loop business model. By using a visual diagram of a core loop with four additional satellites to map my design decisions against, I identified opportunities of designing with a circular strategy affecting all aspects from material sourcing to collection production and distribution, repair, reuse/closing the loop. The consideration of external factors such as customers (here users) enriches the value of circular design; hence, I conducted a free pilot with five users to test the effectiveness of my prototype collection. Open-ended questionnaires revealed their experience of wearing a garment of their choice and enabled a user-centric iteration process resulting in improving my collection for lease. Flexibility and systems thinking were main internal factors that I defined as essential for creating my circular collection concept alongside expanding the designer’s role from garment developer to facilitator of closed fashion loops.
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