1,720,979 research outputs found
Fashion Retail (R)evolution in a Solid and Liquid Experience
No full textThe chapter aims to trace the retail system’s evolution within the transformation of the consumption system and define the main milestones of this evolution from retail space as a point of permanence to omnichannel.
This evolution is framed within contemporary change’s main milestones: from technology pervasiveness to
dematerialization, from apparent antinomy deterritorialisation/new local rootedness, and responsible-driven innovation
Social innovation informing new branding strategies
No full textThe present essay approaches the evolution of branding strategies in culture intensive industries with a special focus on fashion, highlighting the increasing importance of social innovation actions to nurture the efficacy of contemporary branding. In particular, the chapter addresses the following questions: Which is the current conception of branding strategies within contemporary globalized and mature markets and with respect to contemporary consumers and audiences? How do these strategies are approached within fashion industries? Are there connections between new generations of consumers demanding a paradigm shift towards more sustainable and socially responsible practices and the way fashion brands reflect this quest into their communicative actions through branding strategies? Is there a new need for consistency and authenticity between branding contents and concrete actions of fashion brands towards socially responsible practices and a real societal engagement
Sunnei: harnessing mediatisation to fuel a multidimensional customer experience
No full textThis study investigates the multidimensional retail strategies of Sunnei, an innovative Italian fashion brand, and its transformation from a niche streetwear label into a lifestyle and experiential platform. Through the lens of fashion mediatization, the research examines how Sunnei leverages digital and physical channels to construct a multidimensional customer experience (CX), emphasising community engagement and co-creation. Using initiatives such as Sunnei Canvas, Bianco Sunnei, and Radio Sunnei, the brand exemplifies its commitment to experiential marketing and digital interactivity, offering immersive, consumer-centric interactions that align with contemporary expectations of fashion as a cultural, social, and aesthetic phenomenon. This case study reveals how Sunnei employs a customer-first approach to mediate between its products, the cultural ecosystem, and its diverse audience. It contributes to the understanding of experiential retail models and mediatization's role in reconfiguring customer-brand dynamics. The findings underline the significance of digital-first, community-oriented strategies in fostering a cohesive brand identity and sustainable growth in the competitive fashion landscape
Smart Living between cultures and practices. Una prospettiva design oriented
No full textQuesto libro raccoglie le riflessioni, gli stimoli e una selezione di concept progettuali elaborati nell’ambito della ricerca “BeMyPlace. Ambienti interattivi e oggetti di design responsive”, di cui gli autori dei differenti saggi hanno rappresentato il gruppo interdisciplinare di ricerca. Un gruppo eterogeneo di ricercatori appartenenti ai settori del Design della moda, Design degli interni, Design del prodotto e di Ingegneria elettronica del Politecnico di Milano in sinergia lungo un processo progettuale che, a partire dalle prime analisi preliminari, è arrivato alla definizione di un workshop di progetto entro cui un altrettanto eterogeneo gruppo di studenti di design e di ingegneria elettronica, italiani e stranieri, è stato guidato verso la definizione di un nuovo sistema di oggetti Smart. Ma ancora, un lavoro svolto in sinergia con due imprese parte della filiera Edilizia, Legno Arredo Casa, Elettrodomestici e High-tech: Samsara srl (tessuti DreamLux®) capofila del progetto e RCR srl (impianti domotici). L’occasione è stata la partecipazione al Bando Smart Living lanciato da Regione Lombardia in attuazione della LR 26/2015 “Manifattura diffusa, creativa e tecnologica 4.0”. Un orientamento di indirizzo nato con l’obiettivo di rispondere alle dinamiche evolutive dei settori produttivi, che mira a sostenere la qualificazione del sistema economico attraverso il consolidamento e la valorizzazione di “filiere eccellenti” e a dare impulso a potenziali nuovi driver di sviluppo. L’obiettivo del progetto di ricerca è stato l’introduzione di prodotti, processi/servizi nuovi o migliorativi dal punto di vista tecnologico, produttivo e organizzativo, per la valorizzazione della tematica dell’“Abitare intelligente”. ll volume è articolato in due sezioni. La prima, “Design for a Smart Environment”, è concepita come una raccolta di saggi e riflessioni teorico-critiche ed è orientata a indagare il contesto dell’abitare contemporaneo e temporaneo in relazione all’evoluzione della componente tecnologica e smart. La seconda parte, “BeMyPlace. A Case Study Design Research”, presenta il contesto, il processo e i risultati della ricerca. Questo volume ha quindi l’obiettivo di presentare una riflessione che, a partire dall’opportunità progettuale e di studio offerta dalla ricerca BeMyPlace, ha coinvolto il mondo accademico e professionale e ne ha permesso un confronto e allineamento di conoscenze, linguaggi e obiettivi intorno alla tematica dello Smart Temporary Living e degli oggetti, sistemi e servizi a esso connessi. In un contesto contemporaneo caratterizzato da una ormai consolidata trasformazione digitale di prodotti e processi, che investe con importanti ricadute sia il mondo del consumo che le filiere produttive, assume sempre maggiore rilevanza il processo di significazione, entro il progetto, di una nuova dimensione dell’abitare. Dimensione attraversata, non subita, dalla tecnologia
Disassembling fashion decoding visual and stylistic codes as learning by doing tool for courses in fashion communication
No full textHistorically, especially in the field of art, in order to learn to draw and paint, they used the practice of putting oneself in front of a work of art and copying it, to understand its details, drawing methods, techniques and use of colour as well as material. Even in contemporary training related to visual communication for fashion (but not only), but the processes of copying, decomposition and recomposition also become important steps for the understanding of the creative process, of the fundamental elements that constitute a fashion collection (colours, shapes, materials, graphic patterns) and that defines its stylistic identity as well as its visual and communicative identity. Learning by doing actions that have been at the basis of the training process undertaken within the fashion visual communication courses. Courses born not only to provide the graphic and technical tools (Photoshop, Illustrator and InDesign) for the design of the communication project but also and above all, to provide the conceptual basis to understand the design processes underlying the creation of a fashion collection.
The process of decomposition of formal, material, chromatic and graphic elements and their recomposition into new communication artefacts thus become design phases capable of defining educational experiences that hybridize different ILOs from the practical ones related to the knowledge and use of software to the methodological ones related to the training of critical analysis of the fashion product and its declinations within a collection.
The article aims to present the didactic experience carried out within the fashion visual Communication Courses of the first year of the fashion design bachelor's degree at the School of Design of Politecnico di Milano. The learning objectives of the course focus on understanding visual communication tools and their use as a design resource. The applied methodology involved four phases: analysis, disassembly of the elements, definition of the compositional rules and recomposition in a new graphic form of the creative process. Through this approach we wanted to apply the concept of learning by doing, expanding it by defining a training path that operates both on the side of technological instrumentation and on the side of the students' methodological growth
Digital Spatial Moods: Space in digital environmental as design tool for fashion and communication projects
No full textIn the contemporary panorama of design, digital is becoming more and more an essential tool to
define not only design tools but real design processes. Especially in the period of lockdown due to the
Coronavirus, the definition of new didactic and design methods and models have defined
experimentations for possible new teaching trajectories able to define hybrid design tools which,
despite the two-dimensionality of the screen, are still valid to define spatial concepts. The
deconstruction of the space and of meanings deriving from the use of images and the construction of
"digital spatial moods" have built a new abacus at the base of a didactic experimentation implemented
during the lockdown period.
New methods have been developed, in order to open new design possibilities to redesign the didactics
without losing the defined ILOs.
The paper aims to present the experimentation, realized within a course of communication and fashion
design of the School of Design of Politecnico di Milano, a design workshop developed in collaboration
with Deutsche Telekom for the definition of graphic languages to be applied on personal devices. A
workshop born from the concept of personal space, its visualization and characterization.
The learning objectives, even in the ongoing changes of the tools implemented due to the COVID-19,
were to work on space as a design tool as a spatial synthesis of shapes, colors, surfaces and finishes,
which could not only convey a concept but also become a mood for design inspiration. From the
methodological point of view, traditional tools of visualization were translated into the living space,
stimulating students to read space and its elements (furniture, lamps, walls and decorations) as part of
a coherent system of aesthetic languages. To then become a projectual reference for the design.
Space becomes in this context the surface to be used as a three-dimensional mood through which to
define innovative visual languages. The use and development of digital design methods, related to the
use of software for image editing, have supported the process by defining new approaches able to
stimulate the creative process, and to support all the design phases.
The objectives, methodology and results of the study should be described in more detail
The Shape of Drugs: a matter of Human-Centred Design
No full textThe importance of drugs in our daily activities is evident. And yet design thinking suffers from relative inertia about viewing medications as objects of use and consumption.
Conventionally intended as industrial pharmaceutical products obtained based on scientific principles, drugs are both medicinal forms saturated with meaning and technical objects—for the latter, we mean the product’s tangible characteristics with which the user has to cope.
Therefore, it can be assumed that any medication’s efficacy depends on its scientific principles as well as on the sophisticated, hyper-technological or—conversely—prosaic techniques of intake or delivery. An approach to drugs from a human-centred design perspective may thus be aimed at verifying possible correlations between medication shapes and the inefficiency that, as a designed artefact, the medication may produce in terms of identity, understanding, and usability
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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